Latest / All The Right Movies / True Lies (1994) | Ep. 71 - Part 1

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True Lies (1994) | Ep. 71 - Part 1 · All The Right Movies

• 0:04
  All the right movies. Worse than Cairo?
• 0:06
  Cairo Cairo was a day at the beach next to this.
• 0:10
  Sometimes the story is amassed for covert operation.
• 0:14
  See two men killed in a restroom and two unidentified men in a
• 0:17
  running shootout ending at the Marriott.
• 0:20
  That was you, you see. You're very good.
• 0:22
  You recognize my style. You're a natural at this.
• 0:27
  The guy's a fake man. He's taking credit for our
• 0:28
  moves. Unbelievable.
• 0:31
  And you chased. One something came over me.
• 0:33
  I just had to nail this guy no matter what the risk.
• 0:37
  I'm starting to like this guy. Oh, he's still got to kill him.
• 0:40
  I mean, that's a given. Harry Tasker spends his days
• 0:43
  taking down international criminals as a super spy and by
• 0:46
  night he tries to convince his wife Helen that he is a computer
• 0:49
  salesman. Harry's two lads get jumbled
• 0:52
  when Helen has an affair and terrorist group Crimson Jihad
• 0:55
  threaten Western world annihilation.
• 0:57
  I and Jim Cameron's Action Spy workout became the most
• 1:00
  expensive movie ever made in 1994.
• 1:03
  Teaming up with Arnold Schwarzenegger and Jamie Lee
• 1:05
  Curtis, JC outbounded bond with incredible set pieces and
• 1:09
  jaw-dropping special effects. My name is Luke and with me are
• 1:12
  ATR, Ms., very own Boris and Doris, it is Matt.
• 1:17
  Helen is having an affair. And Westy.
• 1:21
  That's a nice piece. All the Right Movies are taking
• 1:23
  the ice cube trays out of the freezer and we're going to walk
• 1:26
  right out the front gate. Hi everyone, welcome to All the
• 1:47
  Right Movies, the podcast on classic and hit films where fear
• 1:50
  is not an option. True.
• 1:52
  We're telling the story of Hollywood one film at a time on
• 1:55
  the show, and what we have on our hands is a huge part of the
• 1:57
  90s movie landscape. It's Big JC, big JLC, Big
• 2:02
  Arnold. It could only be True Lies.
• 2:04
  Because it can. Huge.
• 2:07
  Huge. Too big.
• 2:08
  Very nice piece, Westy. Of course, this was your choice
• 2:13
  of. Course it was.
• 2:15
  So why? Why on earth are we talking
• 2:17
  about true lies? I mean, try and find a reason to
• 2:20
  not talk about True Lies. That's where that's where we're
• 2:22
  starting. I mean, this is hit.
• 2:24
  I was 13 years old when this came out.
• 2:26
  Can you imagine? And this is off the back of like
• 2:28
  Hard Target, Commando, Red Heat, Total Recall, Highlander, all
• 2:32
  these films that I've watched him as just aware of.
• 2:35
  And this is he has a brand new one.
• 2:37
  Really. Isn't Schwarzenegger really
• 2:39
  Cameron really amazing, right? This has got to be great.
• 2:41
  And it's just such a great concept.
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  It's just great fun. I mean, it's a lot of fun.
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  There's a lot of. Loads of fun.
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  It has so much to do, it has so much landscape to cover and it
• 2:51
  does it all and it does it all really, really well.
• 2:54
  The trust that's between Cameron and Schwarzenegger by this point
• 2:57
  that Jamie Lee Curtis has been brought into the fold.
• 2:59
  She's been well looked after. Everyone's having a really good
• 3:01
  time. Alicia Deuce crews amazing in
• 3:03
  the film. Art Malik's amazing in the film.
• 3:05
  Grand has loves amazing. Tom Arland's really funny.
• 3:08
  It's just action-packed. The set pieces are incredible.
• 3:11
  The dialogue whips along, the whole thing whips along.
• 3:14
  There's a second act that we'll talk about that kind of balances
• 3:18
  a bit of a tone and maybe it's great and maybe it's not.
• 3:21
  But as a whole film, I mean it is just tons of fun and it just
• 3:25
  rollick along and it is very, very 90s.
• 3:27
  It's very, very James Cameron. It's very, very Arnold
• 3:30
  Schwarzenegger. Could this be Arnold's best
• 3:32
  performance? I don't know if it's his best
• 3:33
  performance, but it's certainly he's most enjoyable.
• 3:36
  I think from start to finish, it really is a joy to see.
• 3:39
  It's a joy to watch and a joy to revision and hopefully it's
• 3:42
  going to be a joy to talk about. So you haven't thought to this
• 3:44
  one? That is undoubted, Westie.
• 3:47
  Yes, absolutely. I think I'm the same as you.
• 3:49
  Westie came out at a glorious time. 1994.
• 3:52
  I would have been 1314. Yeah.
• 3:55
  And I was movie mad, as we all were.
• 3:57
  Yeah, but I obviously didn't see it in the cinema.
• 3:59
  I do remember being part of the Britannia Film Club.
• 4:02
  Can you remember? That how a class of you amazing.
• 4:08
  Well, that kind of thing was catnip because if you're signed
• 4:11
  up you've got 4 VHS for the price of one or something like.
• 4:13
  That yes, yes, I remember that. Yeah, and I've been nagging my
• 4:15
  parents for years to join it. And obviously they said no
• 4:18
  because it's ludicrous idea, but they're finally relented and I
• 4:22
  got this Forrest Gump Pulp Fiction disclosure, something
• 4:26
  for everyone. Obviously, Pulp Fiction now wore
• 4:30
  out. The other two, not so much, but
• 4:32
  this one kind of sat in the middle.
• 4:33
  I love Donnie for years. Commando, Predator, Running man,
• 4:36
  twins. So he sold it to me.
• 4:38
  Really. Yes, I loved the film but didn't
• 4:41
  really take it to heart. But it is the kind of action
• 4:43
  spectacle that anyone will be proud of.
• 4:45
  Over the top effects, huge set pieces, one of the biggest stars
• 4:48
  on the planet. And that was already huge on
• 4:50
  Jamie Lee Curtis because of Halloween and Trading Places.
• 4:54
  Yeah, fish called Wonder as well.
• 4:56
  And this did obviously nothing to spoil that status, obviously,
• 4:58
  isn't it? You know, reaffirmed it, If
• 5:00
  anything, let's be honest. However, I hadn't really seen it
• 5:04
  too much in the intervening years until we picked it up for
• 5:07
  double feature on Pit for our patrons maybe four years ago.
• 5:10
  Westie. Yes, it was about then, yeah.
• 5:13
  And it did rekindle my love for the film, but it's so huge.
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  It's one of Arnold's best. Like you said, Jamie Lee Curtis
• 5:18
  is outstanding, and Tom Arnold is very, very funny.
• 5:21
  Very funny, Yes. It's a little bloated.
• 5:23
  It takes some wild narrative swings.
• 5:25
  It's got some cultural depictions that are
• 5:27
  questionable. Very tight, I don't see.
• 5:30
  It. So carefully defined.
• 5:34
  That was wonderful. I love that it's a little
• 5:36
  bloated. So it's going to be a good show,
• 5:41
  and Pinery is back for some outrageous Arnold impressions.
• 5:44
  Yes. What about you, Matt?
• 5:46
  Now this is something that I've been gagging to here for weeks.
• 5:49
  Yeah. Yeah, I feel I'm only going to
• 5:52
  disappoint you. Oh my God.
• 5:54
  I mean this one, no, I'm not massively familiar with it to be
• 5:57
  honest. I didn't see it at the time at
• 5:59
  the cinema. I think it must have been a
• 6:00
  rental like you look on maybe on TV and it just didn't actually
• 6:04
  stick with me, right? But not even in a bad way.
• 6:06
  It wasn't like something to watch where I was like oh God
• 6:08
  that was rubbish. Why people going on about this?
• 6:10
  Just you know, and I love Arnie and love coming.
• 6:12
  It just didn't stick with me. And then the second time I saw
• 6:14
  it is as you were saying, it's when you 2 covered it on the
• 6:17
  double feature with Commando, because both of those had only
• 6:19
  seen probably 1. And I thought, well, I want to
• 6:22
  really cram yourself with them before I listen to the episode.
• 6:24
  And again, it just didn't stick in the memory even when I was
• 6:26
  much more recent. But again, not in a bad way, not
• 6:29
  like Highlander, for example, for like, Oh my God, you guys
• 6:33
  lost your sanity talking about this one.
• 6:35
  So this one, it's a void of discovery for me really to
• 6:38
  discover why it's never been a standout for me.
• 6:41
  But also I have to really pay attention to it in a way that I
• 6:44
  probably just didn't do before. So let's see where I end up with
• 6:47
  this one. Lovely.
• 6:48
  Let's see, I think we can guess Westie.
• 6:50
  I think we can, but let's, you know.
• 6:52
  Let's see. Let's keep some mystery.
• 6:54
  Yeah. Don't turn off now.
• 6:58
  So True Lies was written and directed by James Cameron and
• 7:00
  based on the 1991 French film Lato Tao.
• 7:04
  It was produced by Cameron and Stephanie Austin for Light Storm
• 7:06
  Entertainment and distributed by 20th Century Fox.
• 7:09
  The theaters on the 15th of July 1994 shot largely on location in
• 7:13
  Rhode Island, Washington DC, Los Angeles, Florida and Toronto.
• 7:16
  It stars Arnold Schwarzenegger as Harry Tasker, Jamie Lee
• 7:19
  Curtis as Helen Tasker, Art Malik as Salim Aziz, Tia Carrera
• 7:23
  as Juno Skinner, Tom Arnold as Albert Gibson, and Bill Paxton
• 7:27
  as Simon. It's sleazy, Simon.
• 7:30
  Bill Paxton in this will forget about it.
• 7:32
  That kind of wait. That kind of wait.
• 7:33
  Incredible. First, we're headed to the Swiss
• 7:36
  Alps for the opening scene of True Lies.
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  Westie, can I see your invitation?
• 7:41
  Here's my invitation. The beginning.
• 7:49
  We're opening in the luxurious setting of Lake Chapeau with
• 7:52
  Arnold in a tux. What a sight to behold.
• 7:55
  Lovely. That open is short.
• 7:57
  The location is off the charts. There's a lovely little detail
• 8:01
  of footsteps in the snow, on the jetty, on the lake.
• 8:04
  They must have gone somewhere. And then there's that great
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  underwater shot of Harry in his wetsuit.
• 8:08
  Yeah. Great setup in this opening
• 8:10
  scene depicts a mansion in the Alps, but it was actually shot
• 8:12
  at Orca Court in Rhode Island and the mountains were then
• 8:15
  composited in digitally. I mean, it looks great, it looks
• 8:18
  legit. It doesn't look as though it's a
• 8:20
  digital composite, not at all. And this instantly puts us in
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  the world of high profile, high society European types.
• 8:27
  If we had any reservations about what kind of film it is, I think
• 8:30
  it's dissolved in these opening moments.
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  Arnold fulfilling A childhood dream, playing a James Bond type
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  spy. A great mixture of super spy
• 8:38
  smarts, gadgets, guile and a handful of Cologne.
• 8:41
  I love it, love that. Just a little tap.
• 8:46
  Is that a thing of the past where you would splash it onto
• 8:48
  your cheeks just. Like, yeah, it was like a double
• 8:50
  tap on it. Yeah, yeah, yeah.
• 8:53
  The days before the sprays I like.
• 8:57
  The bond references will continue I'm sure throughout,
• 8:59
  but the way that he emerges from the water is right out of Cold
• 9:01
  Finger. Yeah, yeah, definitely.
• 9:04
  I think Cameron saw an opening in the movie landscape here
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  because there hadn't been a Double O Seven film for five
• 9:09
  years before this came out. Smart move.
• 9:12
  But I get very confused when he gets into the party because he's
• 9:15
  obviously not invited because he's got a great lengths.
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  He's had to swim through a frozen lake to get here.
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  He doesn't do a good job of staying Incognito. 6 foot 2
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  monster looking smoke saying hello to everyone in a thick
• 9:28
  Austrian accent. Colonel, so good to see you
• 9:32
  again. Terrific at that tango with
• 9:36
  Juno. He does very little other than
• 9:38
  just clump around on the down the dance floor.
• 9:42
  Dee Carrera is doing all the heavy lifting, which is ironic
• 9:44
  considering a Donald, but nevertheless he extracts that
• 9:49
  information on Khalid and he walks right out the front gate.
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  So this scene was filmed on an extremely cold night and the
• 9:55
  mansion wasn't heated. The costume changing rooms were
• 9:57
  tents outside heated by kerosene lamps.
• 10:00
  At 1.1 of the extras, dresses caught fire under the lamps.
• 10:03
  Ridiculous. That warm?
• 10:04
  Yeah, I guess really dangerous. Obviously there were no injuries
• 10:10
  and the extras were paying an additional $50.00 for their
• 10:12
  troubles in the harsh conditions.
• 10:14
  I don't think that's enough. Not at.
• 10:15
  All No. So as we've said, they're
• 10:18
  straight out the front gate. Boy, does he go straight out the
• 10:20
  front gate. That is just incredible.
• 10:22
  He has my invitation. Boom.
• 10:23
  That number. Sure.
• 10:25
  Yeah, it cuts to the VAT. It's like, holy shit, here we
• 10:29
  go. And from that line, like the
• 10:31
  film doesn't stop. I know.
• 10:32
  Literally just takes off from that moment and we are in there.
• 10:35
  What an opening sequence is this?
• 10:37
  All of this happens, by the way, and we've just finished the
• 10:39
  opening credits, so we've got all of this going on and now
• 10:43
  he's kind of out there. And this is where it just
• 10:44
  completely turns into a James Bond film of 100%.
• 10:47
  This action sequence is really brilliant.
• 10:49
  From knocking to Doberman's heads together and then saying
• 10:52
  stay. I am absolutely in bits.
• 10:56
  It's wonderful. Skidoos in there, automatic
• 10:59
  weapons just taking people out left, right.
• 11:01
  I counted this this morning, so I watched it again.
• 11:03
  I just wanted to watch the opening sequence this morning.
• 11:05
  This opening sequence. He kills in cold blood 14 guys.
• 11:09
  Brilliant. But no reason, just a bit of
• 11:13
  information on this guy off the computer gunning people down the
• 11:16
  front and center. Absolutely amazing, So
• 11:19
  beautifully backlit as well. The kind of hide the fact that
• 11:21
  it's an obvious stunt double, which I think you can see on
• 11:23
  better and better iterations of the film, especially the 4K
• 11:26
  that's come out. You can definitely see he's
• 11:28
  running down, he's reloading. That's definitely a piece, very
• 11:30
  nice piece, but it's nearly coming off.
• 11:33
  You know, you can kind of tell, but it doesn't really matter
• 11:35
  because it doesn't pull you out the film because the editing is
• 11:37
  just ridiculous. And I'll talk about the editing
• 11:39
  on any set piece that I'm talking about which way because
• 11:42
  it is ludicrous. The coverage is absolutely
• 11:44
  ludicrous in the bits when he just turns and he's sliding on
• 11:47
  his back, still gunning people down.
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  The backwards roll with the snow cuts, the guys in the van
• 11:52
  bumbling around all over the discord.
• 11:54
  It gets a little slick, brilliant.
• 11:56
  They're bouncing around all over the place.
• 11:58
  But then he comes down and he just, he lands at exactly the
• 12:00
  right moment. The van comes to a halt and then
• 12:02
  you've got Tom. All that great idea right at the
• 12:05
  front, Gator, and can you lean back for a second, please?
• 12:07
  Absolutely fucking brilliant. Bang, bang.
• 12:10
  There's the last two guys down and you just think I'm in really
• 12:13
  safe hands here. I'm going to have a lot of fun
• 12:15
  as an opening sequence. It's impossible not to keep
• 12:17
  watching it. Yeah, I mean, I think it's one
• 12:19
  of the greatest openings in the 90s.
• 12:21
  It's absolutely. It is an Action Cinema.
• 12:23
  Yeah. Yeah, that's lighting down the
• 12:25
  hill backwards. Shooting bad guys.
• 12:26
  That's a killer move. Brilliant.
• 12:28
  This thing was originally envisaged to be much larger in
• 12:31
  scope and scale. There was supposed to be a
• 12:33
  helicopter which Harry shoots down and the burning wreckage
• 12:36
  falls off the top of a mountain and he rides it down the
• 12:38
  mountainside. Yes.
• 12:43
  And they even started construction of the helicopter,
• 12:45
  but the location was deemed too dangerous even for production
• 12:48
  vehicles. So Cameron then nixed that idea
• 12:50
  and came up with what we see in the final cut, which allegedly
• 12:53
  is only 10% of what he originally conceived.
• 12:56
  How many classic cameras? 10% overflowing with ideas.
• 13:01
  Yeah, too many. So you've had this huge opening
• 13:03
  sequence, explosions, gunfire, screws, and then you get that
• 13:07
  great contrast when Harry returns on because this is such
• 13:10
  a normal Monday in life he's got here.
• 13:12
  And the contrast just works really effectively.
• 13:14
  And considering why he's been through the night before, like
• 13:17
  equivalent about $600.00 with his wife, that's pretty small
• 13:19
  fry. You can see why he's happy to
• 13:21
  just wave that off. And you do think like, is Harry
• 13:24
  truly happy with both sides of his existence?
• 13:26
  He also just playing this up for the benefit of lying to his wife
• 13:29
  about it because he does. I'm pretty convinced when he saw
• 13:32
  about how great this apparent conference was.
• 13:35
  If I tell you what though, James Cameron, he loves a bratty
• 13:37
  teenager on a motorbike, doesn't.
• 13:39
  He I mean. That's his short and teenage
• 13:41
  rebellion on a motorbike worked in.
• 13:43
  The music. Blasting music, headphones on.
• 13:45
  It's going to work. Yeah, that's fine.
• 13:47
  Tom Arnold, he's really funny in this scene when he sees Dana
• 13:49
  about leave because she's got the helmet on.
• 13:51
  Boy, I remember the first time I got shot out of a cannon.
• 13:53
  That's a great line. You just see immediately the
• 13:57
  these two have got great chemistry.
• 13:59
  Like when he hands them the coffee bags, dear.
• 14:01
  It's like he's got his real life and Tom Arnold's his work life.
• 14:04
  Yeah, that's great. I mean, as if Helen believes
• 14:10
  that he's a computer salesman. He's a, he's a brick out house.
• 14:14
  He's massive. Doesn't really quiz him on it
• 14:17
  either to be honest, just gets bored about it.
• 14:19
  You should have been there. That's why I love the computer
• 14:23
  business. That's why I love the computer
• 14:25
  business. It's absolutely over the moon.
• 14:27
  Nobody's that excited about being a salesman.
• 14:32
  And you mentioned Tom Arnold, their mass.
• 14:34
  We're not going to get him in the cast.
• 14:35
  So I think it's the best place to talk about him now.
• 14:38
  Yeah. He plays Albert Gabe Gibson,
• 14:40
  Harry's partner in crime or the prevention of it, The
• 14:43
  personification of light relief. Yeah.
• 14:46
  Oh, definitely. Yeah.
• 14:47
  Cameron was adamant that he wanted Arnold Tom, that is, for
• 14:50
  the role of Gabe after his audition.
• 14:53
  But there were a number of other actors considered, including Dan
• 14:55
  Aykroyd, Bill Murray, John Goodman, Joe Pesci and Steve
• 14:58
  Guttenberg. Right.
• 15:00
  Yes, amazing. And Tom Arnold, at the time he
• 15:03
  was a writer and recent star of hit TV show Roseanne, where he
• 15:06
  was also married to the lead of that Roseanne Barr.
• 15:09
  And he went into his audition for True Lies without any
• 15:12
  expectations and said he just wanted the chance to meet
• 15:14
  Cameron and Arnold. But Cameron immediately saw the
• 15:17
  chemistry between Arnold and Arnold.
• 15:19
  Arnold, no. Arnold, yes.
• 15:20
  That's going to get very confusing, so we'll try to make
• 15:22
  as clear as possible. Yeah, allegedly.
• 15:25
  The moment that swung it for Cameron was after the audition
• 15:28
  when Arnold said about Schwarzenegger.
• 15:30
  He's not that big. I think I can take camera sold
• 15:33
  from. That point that's.
• 15:34
  Probably the funniest thing you can ever see.
• 15:38
  But it proved to be a very tricky sell to the studio.
• 15:41
  They didn't think he was big enough for Star and also we're
• 15:44
  very concerned about his very public and very messy divorce
• 15:46
  from Roseanne Barr. Yes, yes, that was big news,
• 15:49
  wasn't it? I.
• 15:50
  Remember it? Yeah.
• 15:51
  There was a tabloid sensation with stories of domestic and
• 15:54
  substance abuse and they were very public of their mutual
• 15:57
  hatred and Fox shoots didn't like this one bit.
• 16:00
  Cameron's response was I don't read the tabloids, but I wrote
• 16:04
  this and he is the guy the dug the heels in until I am.
• 16:07
  Jim threatened to take production over to Paramount and
• 16:10
  Fox run ACT. During their first scenes
• 16:12
  together, Schwarzenegger told him, Tom, I played the
• 16:15
  Terminator, but you married her. Amazing.
• 16:23
  Tom Arnold's real world messy breakup did provide one of the
• 16:26
  more memorable lines from the film.
• 16:28
  When Gabe's confident Harry about Helen's affair, he talks
• 16:31
  about his experiences and he says that his ex-wife took the
• 16:34
  ice cube trays. What kind of sick bitch takes
• 16:36
  the ice cube trays out of the freezer?
• 16:39
  Roseanne did this to Arnold. He told the story to Cameron and
• 16:41
  word for word that made it into the script.
• 16:44
  So Harry leading the perfect double life.
• 16:47
  Nobody suspects a thing, somehow, unbelievably.
• 16:53
  Now we're going to be taking deeper into Harry's world and
• 16:55
  the incredibly dangerous situations that he gets himself
• 16:58
  into. And I'm kicking things off here
• 17:00
  with two short scenes that back into each other.
• 17:03
  Harry doing his day job. Firstly, at the office where
• 17:06
  they're downloading their boss with the Intel they've gleaned
• 17:08
  from Khaled's computer. Their boss is Charlton Heston
• 17:12
  and there's so much to say about this.
• 17:16
  Firstly, the character is called Spencer Trilby which is stupid
• 17:20
  name. Stupid.
• 17:21
  Heston was seven years old at the time.
• 17:23
  Why isn't he retired? He looks every day of that age.
• 17:28
  He's got an eye patch, which seems a really strange detail,
• 17:31
  but it's based on Marvel superhero Nick Fury.
• 17:34
  Similar mannerisms, the eye patch, but it's so weird.
• 17:37
  It's just such a strictly. Awesome, powers the sequence.
• 17:40
  Isn't it? Really is the whole thing and
• 17:43
  he's got some some of the most memorable lines.
• 17:45
  He says you really screwed the pooch and so far, you know, blow
• 17:48
  my skirt up. But my favorite of all, Do you
• 17:51
  have anything more substantial, Harry?
• 17:52
  Do you have any hard data, Harry?
• 17:56
  Well, nothing you would call rock.
• 17:58
  Hard so far. This isn't blowing my skirt up,
• 18:02
  gentlemen. The dialogue is insane but
• 18:06
  really memorable. Cameron made a personal call
• 18:09
  hasten for the part. He queried why he wanted him,
• 18:12
  and Cameron said that he wanted someone who could intimidate
• 18:14
  Arnold Schwarzenegger. Yeah, I'm sure he would have
• 18:16
  done that. He is really memorable.
• 18:18
  And this scene afterwards, this moves the plot forward by
• 18:21
  implicating June or Skinner, whom Harry met in Switzerland.
• 18:24
  Obviously there's a great transition from the back of the
• 18:27
  limo where Harry's practice in his line to the moment where
• 18:29
  he's handing over the business card of the reception.
• 18:32
  Yeah, there's a plot. There seems to be, and this
• 18:37
  scene is important because it ties Aziz and Juno together.
• 18:40
  It puts Aziz and his goons on Harry's tail for the big chair
• 18:44
  set piece, and more importantly, it's responsible for a line of
• 18:48
  dialogue that we've quoted for years, often out of context.
• 18:51
  Very much out of context. Often on other shows about other
• 18:54
  films. Very much, very confusing, very
• 18:57
  much in everyday life, to be honest.
• 18:59
  We've said this for 1-2 years. And it's your quote at the
• 19:03
  start, when Harry's talking to Juno about his clients wanting
• 19:07
  something dramatic in their lobby, and he's walking past
• 19:10
  this artifact. Harry just casually tosses in
• 19:12
  the conversation. Well, that's a nice piece.
• 19:19
  That line's just stuck with me. I have no idea why.
• 19:22
  Every single time when I ever get something new, no matter
• 19:25
  what it was, I could have a new car and you watch a new court,
• 19:29
  I'd come out, meet you and I'd be like such.
• 19:31
  I get new. Yeah, it's a nice piece.
• 19:32
  Every message let me watch. That's a nice piece.
• 19:36
  You'd even write it in a message.
• 19:37
  That's a lovely piece. That was really nice piece.
• 19:40
  It would be saying that for absolutely years and I'd said
• 19:44
  it, but we're doing true lies on the show and I said I said enemy
• 19:47
  so and I was like, we're doing true lies and he was like, all
• 19:49
  right, I haven't seen that, so we're going to watch it.
• 19:50
  I was like, it's a really nice piece.
• 19:52
  He's like, what are you talking about?
• 19:53
  I was like, it's a great film. It's a nice piece.
• 19:54
  He's what you what you talking about?
• 19:56
  So I was like, so I kept seeing it and repeating it and he's
• 19:59
  going, I don't understand what you mean.
• 20:00
  So I put the scene on for him and he just went, is that it
• 20:04
  like this real grandiose moment? It's just like, it's a nice
• 20:07
  piece. He doesn't even say it like
• 20:09
  that. That I was like, yeah, I know,
• 20:10
  but we've kind of made-up our own a little bit, but it's.
• 20:12
  Yeah. It's got some personality now.
• 20:16
  It's got a life of a tool it. Really is.
• 20:18
  But either Harry here, he's a genius, or everyone in this
• 20:21
  world is stupid because Helen believes he's a computer
• 20:24
  salesman, Junior thinks he's an art consultant.
• 20:29
  This man Mountain with a European accent.
• 20:31
  Yeah, he's in the art game for sure.
• 20:33
  He's a culture vulture. Yeah, he loves Proust.
• 20:36
  Yeah, none of his lies have anything to do with his
• 20:39
  physicality whatsoever. It's like, no, I know everything
• 20:41
  about art, but I've hit the gym for like 30 years.
• 20:44
  Yeah, forever. But at the same time, really.
• 20:47
  And Valerie Galino of Hotshots fame was offered the part of
• 20:50
  Juno Skinner, but she turned it down to start and Greek drama
• 20:52
  Slaughter of the Cock. Yes, a film with an odd sound
• 20:56
  and name, and no wonder that it kind of disappeared from
• 20:58
  consciousness. Completely.
• 21:00
  That's not a Multiplex. Is that one?
• 21:02
  No, it's not, no. And she's very much known for
• 21:05
  that parody though, isn't she? There's like that Hotshots
• 21:07
  parody. I think it might be a bit too
• 21:09
  far the other. Way might have tipped it over
• 21:10
  the edge a little. Yeah.
• 21:12
  T Carrera eventually landed the part, but she claims that she
• 21:15
  replaced Karina Lombard after filming began, the reasons for
• 21:18
  which have not been made public. But Lombard played the part of
• 21:22
  Girl on Beach in The Firm, the one that Tom Cruise's character
• 21:26
  sleeps with and then. OK.
• 21:29
  Yeah, right. Carrera said that her part in
• 21:31
  Wayne's World put her in contention, and The True Lies
• 21:34
  was a favorite rule because you got to play the villain.
• 21:36
  Yeah, I mean, she's good in it. She's great.
• 21:38
  I mean, immediately putting it on the table that she wants to
• 21:40
  sleep with Harry. Absolutely no subtlety
• 21:42
  whatsoever. No, she's not a very subtle.
• 21:44
  Character. Let's be honest.
• 21:45
  No, no she is not. Is this James?
• 21:50
  No one right? In female parts I mean.
• 21:52
  Yeah, yeah. It does seem that way, doesn't
• 21:54
  it? It's old.
• 21:55
  He's not his middle name. No it isn't.
• 21:56
  No. And then following this, we get
• 21:58
  the first confrontation between Harry and the terrorists who've
• 22:01
  been tracking him down. But before that, there's that
• 22:04
  brilliant bit of misdirection, right?
• 22:06
  Gabe misses the terrorists following Harry into the
• 22:08
  bathroom because the buzzle balls in and appeared as he's on
• 22:11
  the phone. Hell, I think that's just a
• 22:12
  really, really great little detail that and then you just
• 22:15
  get this absolutely classic staple of the action genre, the
• 22:18
  bathroom fight. And I mean, nothing exceeds like
• 22:20
  excess, right? And this is very, very
• 22:22
  excessive. When he shoots the terrorists
• 22:24
  who has the machine gun, there's no need for to go off to the
• 22:27
  extent that it does shooting the absolute shit out of that
• 22:30
  bathroom. I mean, it definitely doesn't
• 22:32
  have that many like bullets in the back.
• 22:34
  Obviously no any Harry, but it works.
• 22:36
  There's no need for that massive clang.
• 22:39
  Twice when he smacks the tear his head into the, you know, but
• 22:41
  it really works. It really works, you feel?
• 22:44
  You do feel, and there's definitely no need for Harry to
• 22:46
  come hurtling out of that stall where he's been hiding.
• 22:49
  I mean, he's it's like he's been shot out of a cannon.
• 22:52
  Like the speed he goes through that thing, he doesn't have that
• 22:54
  much of ruin up. That's not going to work.
• 22:56
  No. And there's definitely no need
• 22:57
  for undergo skidden through that water like he's Hawkeye drum
• 23:00
  through the waterfall in Last of the Mohicans.
• 23:03
  But it really, really works. And obviously while all this is
• 23:05
  going on, you've got the classic comic beat of that poor guy
• 23:08
  stuck in the toilet just quietly trying to do his business and
• 23:11
  all hell is breaking loose around him.
• 23:13
  So all really classic stuff, classic beats, but it all
• 23:16
  really, really works. Yeah, it does.
• 23:18
  It does. I mean a bit extreme, just
• 23:20
  whacking Harry out in the bathroom.
• 23:21
  Have they done their due diligence or anything like that?
• 23:24
  Have they checked the exits? Don't think.
• 23:28
  Great move though with the with the camera and the smokes which
• 23:30
  was settled. In the I love that.
• 23:33
  Another link to Bond is the production designer Peter
• 23:36
  Lamont, who worked on this film and every Bond film from Your
• 23:39
  Eyes Only to Casino Royale. Great pedigree.
• 23:42
  Yeah, definitely for this shootout, Saying Cameron came to
• 23:45
  the set two days before film was rescheduled and said that the
• 23:47
  set needed to be 3 times bigger. Classic camera.
• 23:50
  Brilliant. Excessive.
• 23:52
  Just three, just three times bigger, right, OK.
• 23:55
  This was the first time that Peter Lamont and his crew had
• 23:58
  heard about these demands. Cameron said that the set had to
• 24:00
  accommodate lights fallen from the ceiling, water spraying from
• 24:03
  broken toilet bowls and faucets. Lamont and his crew completely
• 24:06
  remodeled the set within 48 hours, and the scene, which was
• 24:10
  scheduled for one day shoot it took five days.
• 24:15
  And when given Arnie direction during the bathroom fight scene,
• 24:18
  Cameron was demonstrating how to RIP the dry off the wall, but he
• 24:21
  swung back too far and smashed his hand off the countertop
• 24:24
  behind. Arnold didn't take heat and did
• 24:25
  exactly the same thing during the scene, after which he was
• 24:28
  forced to wear a dog born around his neck and Cameron called him
• 24:31
  the village idiot. But like in the modern
• 24:34
  workplace, that might be called bullying.
• 24:36
  Yeah. Probably so, yeah.
• 24:38
  Here, Char, we're getting involved at that point.
• 24:40
  Yeah, definitely. Right.
• 24:42
  So it goes from to this set piece in the bathroom, right,
• 24:45
  Which advances the plot maybe 3 inches.
• 24:47
  Yeah, I guess. So that was that massive set
• 24:50
  piece. And now we've got another set
• 24:52
  piece which is unrelentingly action-packed.
• 24:57
  I mean, I've watched it again. Like I've said, I've watched
• 24:59
  like just some sequences this morning of like, is that really
• 25:01
  just in, just by itself, just as a sequence?
• 25:04
  The editing, it's unrelenting. It's outrageous.
• 25:08
  For every wide, there's a mid. Yeah.
• 25:11
  For every mid there's a close up.
• 25:12
  It's just he's on the horse going to.
• 25:14
  It's not enough just to get one passive it on just a wider lens.
• 25:18
  I don't know whether they're just punched in the negative or
• 25:20
  whether that shot on one camera or two cameras, but it just it's
• 25:22
  just like right, we're going close, we're going wide, we're
• 25:24
  going close, we're going wide. There's the bike.
• 25:26
  The bike doesn't turn goes so it goes across the park.
• 25:29
  You will go right across the park.
• 25:30
  Both of them. But he steals a horse says
• 25:32
  sorry, hilarious. That's already amazing.
• 25:34
  Sorry. Sorry.
• 25:36
  Straight out of there right now. The horse keeps up with the
• 25:38
  motorbike, no questions asked. Wonderful through the park.
• 25:41
  Need that excellent track and shot.
• 25:44
  Keeps everything done focusing, jumps over hedges, all that.
• 25:48
  Then we're into the Main Street. There's traffic.
• 25:49
  Then Izzy's is blocked, so he has to go straight for the
• 25:51
  Marriott, obviously. Hotel lobby, straight in through
• 25:54
  one of the suite rooms playing past.
• 25:55
  There's a band playing, so it goes past them.
• 25:57
  That's great. Through the kitchen.
• 25:58
  Yeah. Yeah.
• 25:59
  Then out the back of the kitchen to the car park.
• 26:01
  Fantastic. Another lobby.
• 26:03
  Great. Water feature.
• 26:04
  Great. Get the horse through the water
• 26:05
  feature, then into an elevator. Yep.
• 26:07
  With somebody go about getting the hostage yet?
• 26:09
  Get the horse in the elevator. Yep.
• 26:10
  Comic Relief. Yep.
• 26:12
  OK, do that. Then get to the roof, Right?
• 26:14
  We're on the roof. So the motorbike's going to take
• 26:16
  off the roof and land in a swimming pool on a separate
• 26:18
  roof, Gray. And then the horse is going to,
• 26:19
  there's going to be a comedy beat where it stops.
• 26:21
  And then he goes over and pulls him back up.
• 26:22
  And then he tells him off for not being a good police horse.
• 26:25
  So. We're going to do all of that
• 26:29
  and editing's going to be so fast-paced.
• 26:31
  It's going to cost so much money and nothing's going to be tongue
• 26:33
  in cheek. If it's going to be shot like as
• 26:34
  seriously as I've shot the end of Aliens, I'm going to shoot it
• 26:38
  so seriously that it's just, everything's going to be
• 26:40
  absolute perfection. And it is perfection and it's
• 26:44
  still played for laughs. But the sequence itself, it
• 26:47
  accomplishes nothing. It doesn't.
• 26:49
  The only thing that happens is to see each other in the
• 26:52
  elephant. That's that's it.
• 26:53
  So you're probably doing all this and you're just thinking.
• 26:57
  Why though, James? Why?
• 26:59
  Why? Though, Jim, I mean, we can do
• 27:00
  through the park and then that's fine.
• 27:01
  Then something happens or whatever.
• 27:03
  Or that he could have just walked out with the bathroom
• 27:05
  sequence, looked up the the street and, you know, and then
• 27:08
  he's going to turn around and the locked eyes and then it's
• 27:10
  like. Yeah, and he's taken off or
• 27:12
  something like. That next scene, yes, what an
• 27:14
  amazing sequence for no reason whatsoever.
• 27:17
  No reason whatsoever. Love it.
• 27:20
  Make it quick because my horse is getting tired.
• 27:23
  Your horse. Yes.
• 27:26
  And part of the scene was originally going to be shot at
• 27:29
  the Washington Monument in DC with Arnold's horse racing
• 27:32
  through the reflecting pool. However, the National Park
• 27:35
  Service put the blockers on that.
• 27:37
  Unsurprising, yeah. Well, yeah, definitely.
• 27:39
  And the chase scene was shot mainly in the Western
• 27:41
  Bonaventure Hotel in Los Angeles and partly on a set for the
• 27:45
  moment. In the movement, elevator and
• 27:46
  animatronic horse was used, if you can believe that.
• 27:50
  And it was thought that using a real horse in such a confined
• 27:52
  space was too dangerous if it started to panic, which is
• 27:55
  definitely fair enough. But a real horse was used when
• 27:58
  the elevator was stationary and the old couple in the scene were
• 28:01
  the horses. Actual wranglers used to keep
• 28:04
  the the animal calm. When that tail smooshes as well,
• 28:07
  she really. It's a great, it's a great comic
• 28:08
  base. Yeah, it's a wonderful moment.
• 28:13
  There were four different horses used for this scene because they
• 28:16
  all had different skills needed for the scene and Arnold drew
• 28:19
  and his horse riding experience from 2 corn films.
• 28:22
  Yeah, you can tell he's the. Dab handed it.
• 28:24
  Yeah. Yeah, but during the end to the
• 28:26
  chasing, Arnold almost came a cropper.
• 28:28
  There was a temp ramp built at the end of the building which
• 28:30
  allowed more room for the horse to stop, but when they were
• 28:33
  measuring the distance the arm of a camera actually dropped
• 28:35
  down under the horses nose and this sent the horse into a spin
• 28:38
  going crazy with Arnold just stuck on top of it.
• 28:40
  But yeah. He said there was no rail and
• 28:43
  the ramp was only four feet wide.
• 28:45
  I realized it was a bad situation and I slid off the
• 28:47
  horse right away and the stuntman grabbed me.
• 28:50
  That one was really scary. If the horse stepped a foot the
• 28:52
  wrong way, we would have fallen 90 feet to a cement flow.
• 28:56
  I mean, why are you making it that dangerous?
• 28:59
  For a sequence that makes no difference to.
• 29:03
  The Why are you actually on the roof of a high rise building?
• 29:06
  Don't do it. It's a good thing you learned
• 29:09
  this lesson, isn't it? It.
• 29:10
  Really is it flies a hurry at the end of the film.
• 29:12
  Just do this with a little bit of jiggy report.
• 29:15
  Exactly. It's absolutely crazy.
• 29:17
  No one's bothered. So an incredible opening
• 29:19
  sequence may be a little unnecessary, but Harry escaping
• 29:23
  near death on multiple occasions?
• 29:25
  All in a day's work? Absolutely.
• 29:34
  OK, everyone, here's your invitation to join the secret
• 29:36
  world of all the right movies by becoming a patron of the show.
• 29:40
  Definitely. I mean, it's not really that
• 29:42
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• 29:43
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• 29:46
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• 30:00
  So countless hours of entertainment.
• 30:02
  Yeah, absolutely. We also create 2 brand new
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  Those are the watch list, which is our movie review show.
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  We generally talk about new films there.
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  Yes, and you've also got Double Feature.
• 30:14
  This is where we talk about two films that we're not quite ready
• 30:17
  to talk about on this show just yet.
• 30:20
  Just like 2 lines, we talked about it about four years ago on
• 30:22
  double feature. Exactly.
• 30:24
  And now we're ready. Yes, and now we're a four years
• 30:26
  on. It took four years and.
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  So all of our different shows combined, we're talking well
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  up, go to patreon.com/all the right movies for the whole ATRM
• 30:52
  experience. Thank you everyone.
• 30:54
  Thank you very much, the Director.
• 31:02
  The man in the director's chair, known affectionately as I and
• 31:05
  Jim Cameron. We've discussed this on number
• 31:07
  of episodes in the past. Yeah, that's due to his
• 31:09
  questionable behavior on movie sets.
• 31:12
  He was one of the most successful contemporary
• 31:14
  directors of The Terminator, Terminator 2, The Abyss and, of
• 31:16
  course, Aliens. Westie, what do you think of
• 31:19
  Cameron's work on True Lies as director?
• 31:21
  I mean, it's pure James Cameron. If you don't keep up, you're
• 31:24
  out. And what the guy?
• 31:25
  To try and keep up with, I mean, it's just his ambition is
• 31:28
  through the roof and his ability to deliver that ambition is
• 31:32
  unquestioned because he will deliver any level of ambition
• 31:35
  that he puts his mind if he's that kind of man and that kind
• 31:37
  of director. And I think if you're not in his
• 31:39
  wavelength, he will come across as an absolute asshole.
• 31:42
  But I don't think, I don't think he means to.
• 31:44
  I just think he's just so dedicated to what he wants to
• 31:47
  put on that screen. And it's just how much
• 31:49
  lighthearted this he brings to this whole genre.
• 31:51
  Like it's not a playoff of the spy genre whatsoever.
• 31:54
  No, no. Doesn't strike me either that
• 31:56
  he's using like a 10 camera setup and he's not repeating
• 31:59
  shots, he's not doing an explosion and then saying again
• 32:01
  from another angle he's not going.
• 32:02
  Isn't that great? He's like, you do a huge
• 32:04
  explosion and ignore the angle and he said that's where I'm
• 32:06
  shooting it from. I might cut to a separate one on
• 32:08
  the aftermath, but that's it. Every single shot is just
• 32:11
  Immaculate and matches so well. The light is so, so precise.
• 32:15
  And I think because of its subject matter and it's torn,
• 32:18
  it's not taken seriously enough as a piece of art, as a piece of
• 32:21
  filmmaking. Yeah, yeah, I know what you
• 32:22
  mean. As a piece of Action Cinema,
• 32:25
  it's as good as like the early John Woo stuff.
• 32:27
  I mean, you can put this up next to hard boil for the action
• 32:29
  sequences and they're on a par, they are as good.
• 32:32
  But it's just because this isn't like, you know, you don't have
• 32:35
  characters dying and there's not that level of grief and there's
• 32:37
  not that level of emotion and it doesn't really go very dark.
• 32:40
  So then people don't take it seriously because it has got
• 32:42
  such a light tone. And I think that's excellent
• 32:44
  from Cameron to bring that. But I also think it's derogatory
• 32:47
  to the themes and all sort of the film because people will
• 32:49
  just wave it away. It's just something a bit of a
• 32:52
  Roly eye number. But this was 90s Action Cinema
• 32:56
  at its pinnacle. Oh yeah, this was before cinema.
• 32:59
  Action Cinema started to get analyzed.
• 33:01
  And boy, does he take advantage of that.
• 33:03
  He really does. Yeah.
• 33:05
  I just think this is Big Jim doing what he does best, a huge
• 33:08
  action spectacle on an enormous scale, almost unfathomable.
• 33:12
  I mean, he may be a prickly character, but he pushes the
• 33:15
  boundaries in cinema what is possible from special effects.
• 33:18
  He's unflappable. I mean, it takes some balls to
• 33:21
  take on a project like this, the most expensive in history at the
• 33:23
  time. Yeah, and not only does he not
• 33:26
  wilt under the pressure, he thrives and delivers pure
• 33:29
  popcorn entertainment every time.
• 33:31
  Cameron compared True Lies to a military manoeuvre.
• 33:34
  He said there were no easy shots on this movie and if they were
• 33:36
  easy, I found a way to make them hard.
• 33:38
  Yeah. Exactly.
• 33:40
  Brilliant. Exactly the point, yeah.
• 33:43
  And no, that is is a labor of love that really pays off.
• 33:46
  You can feel the scale of this film and I'm often left in awe
• 33:50
  of this film. Just some of the set pieces that
• 33:52
  opening scenes massive and it was only 10% of what he wanted.
• 33:56
  Exactly. The bathroom fight followed by
• 33:59
  the horse bike chase. It's insane.
• 34:01
  It may not be necessary, but it's what a feat.
• 34:04
  Oh. It's amazing, yeah.
• 34:06
  The whole bridge explosion, it's the biggest thing I've ever
• 34:08
  seen. And then he Trump's up with that
• 34:10
  amazing Aziz day in a chase the. Bridge sequence isn't even the
• 34:15
  final sequence. No crazy, there are just huge
• 34:19
  tentpole action sequence that leave you gasping for breath and
• 34:22
  just about recovered before the next one kicks in.
• 34:24
  I think the awe and the spectacle of the set pieces have
• 34:27
  to be larger than life so that they can cover over a few cracks
• 34:30
  in the narrative. Yeah, I'm sure we'll be talking
• 34:33
  about that later in the writing, but from a set piece point of
• 34:35
  view, I think few films can rival Cameron's work here.
• 34:38
  It's really, really something special.
• 34:40
  Yeah, I mean, what you see on the screen definitely from the
• 34:42
  edit under the coverage is unbelievable.
• 34:44
  But the plot does have holes as big as that bridge does.
• 34:46
  But we'll get. Can't wait for that.
• 34:51
  And Matt, what about you? James Cameron as director here.
• 34:54
  Yeah, I mean, there's definitely the argument that this is pure
• 34:57
  James Cameron, but I think you can spin it and actually say
• 34:59
  it's also at the same time Weedley the least James Cameron
• 35:03
  film I think he's ever made like.
• 35:04
  Yeah, very good point. Yeah.
• 35:05
  Particularly because he's disowned Piranha to.
• 35:07
  He doesn't even come down to his film because everything else
• 35:10
  he's made, it's been about pushing the boundaries of
• 35:12
  technology. How can you revolutionize
• 35:14
  special effects and show us something we've never seen
• 35:17
  before? How can you make an epic Action
• 35:19
  Cinema on a scale or with an intensity that's never been done
• 35:22
  before? And obviously there is action
• 35:24
  here which does do that, and we're going to talk about it.
• 35:26
  But at the same time, he really lets the actors take center
• 35:29
  stage here in a way he hasn't done before or since really.
• 35:32
  Unless he counters the first half of Titanic, but then you
• 35:35
  get in the second-half and he takes control of that and he's
• 35:37
  like right massive. But the first part is all Leo
• 35:41
  and Kate and it's the same here. So if Bill Paxton just wants to
• 35:45
  run riot and give a comic master class in his performance,
• 35:48
  Cameron let's him. If JFC wants to show she can go
• 35:51
  from Dorpy clothes to slinky seductors in the same scene, he
• 35:55
  lets to do it. If I want to show a likeness of
• 35:58
  touch and a variety of taunts that he's never done before,
• 36:01
  arguably come and let him. He doesn't step in and try to
• 36:05
  over shadow their scenes with constant action.
• 36:07
  He really lets the performances beat.
• 36:08
  And I think he's he's actually probably an underrated director
• 36:11
  when it comes to performances. His evening Terminator and
• 36:15
  aliens, brilliant performances in there.
• 36:17
  But he he's just given everyone time to do what they really want
• 36:20
  to do. So it might be the least Cameron
• 36:22
  asked film he's ever made in that sense.
• 36:24
  But I'd much rather he'd made more of these than just another
• 36:27
  giant Smith movie. Yeah, exactly.
• 36:30
  Yeah, I agree. A dozen surprises that he's gone
• 36:32
  on to do things with Avatar because that's where his
• 36:35
  background is. Special effect pushing it as far
• 36:37
  as possible. Yeah, I think he just gets, he
• 36:38
  just gets bored with, he gets bored with one shot.
• 36:42
  Two shot. He's like, I want to be able to
• 36:44
  control the lighten as I'm shooting it with some actors
• 36:47
  over there in a world in here. Then you can see his ambition.
• 36:50
  It's just he isn't going to come back to like A1 camera narrative
• 36:53
  setup, was he? Oh, it's not going to happen.
• 36:55
  No way, never going to happen. In 1990 Cameron and Lawrence
• 36:58
  Kozanov founded Light Storm Entertainment and got off to
• 37:01
  obviously a blinder with T2 in 91 Yeah massive film then
• 37:05
  released the Abyss special edition that was really
• 37:08
  successful in the apolly that into a major first refusal deal
• 37:11
  with 20th Century Fox. This is how Cameron was able to
• 37:14
  make the film like True Lies with a huge budget.
• 37:17
  Fox gave him create a control in return for domestic rights, with
• 37:20
  Light Storm retaining the overseas rights.
• 37:23
  Allegedly, Cameron was primed to make an R rated version of
• 37:26
  Spider Man after T2 from his own script, with DiCaprio in the
• 37:30
  lead and Arnold is Doctor Octopus.
• 37:33
  However, production company Coroco wanted to do it on a much
• 37:36
  smaller budget than Cameron had envisioned.
• 37:38
  Which isn't going to happen, is it?
• 37:39
  Never going to happen with Cameron.
• 37:41
  Always more. Always more with Cameron.
• 37:43
  Cameron spider man film. Wow, that would have been great
• 37:46
  it. Would have been, yeah, it would
• 37:47
  have been something that I would like to say that.
• 37:49
  Would have been unbelievable, yeah.
• 37:50
  So he moved on to True Lies instead.
• 37:52
  How that came about we'll explain in the screenplay
• 37:54
  section, as I and Jim also wrote the film.
• 37:57
  And the film was initially budgeted at $60 million, but
• 38:01
  later became the first film to break the $100 million mark.
• 38:04
  And that's because Cameron did actually under budgeted for the
• 38:06
  huge scale action set pieces and visual effects.
• 38:09
  Yeah. And I mean, they were breaking
• 38:11
  new territory, so a bit of guesswork was understandable, I
• 38:14
  suppose. Yeah, in the custom of things.
• 38:17
  The whole production unit moved across six different cities in
• 38:19
  the US at some cost and there was an earthquake in Van New
• 38:22
  Eyes in January 1994 which disrupted production.
• 38:27
  Cameron also cited CGI changes required in post production that
• 38:30
  increased the budget. Yeah, he said, like, little
• 38:32
  fiddly things that just mounted up and mounted up.
• 38:35
  Yeah, and obviously we mentioned it in the intro there.
• 38:38
  But a James Cameron film wouldn't be complete without
• 38:41
  stories of him being a generally dislikable person making
• 38:44
  outrageous demands. And this is no exception.
• 38:47
  Although maybe not as outrageous as previous Cameron films.
• 38:50
  Maybe he was mellowing as he got older.
• 38:54
  Yeah, there were still flashers of the old Iron Gym in there.
• 38:57
  There were reports of him threatening to fire crew for
• 38:59
  taking bathroom breaks and he also did multiple takes, much to
• 39:03
  the fury of some of the cast. Yes, yes, a lot of them didn't
• 39:06
  like that multiple takes of scenes.
• 39:08
  Peter Kent Arnold, stunt double on the majority of his films in
• 39:11
  the 80s and 90s, said that he almost got into fist he cooks
• 39:14
  with Cameron. Ken said that Cameron had to go
• 39:16
  out and for hanging out with Arnold and smoking cigars in his
• 39:19
  trailer. Ken said he asked Cameron why he
• 39:21
  was acting like a spoiled child in front of his crew, which
• 39:24
  enraged Cameron. He got on his tip toes and
• 39:27
  cocked and punched him. Brilliant.
• 39:30
  In Ken's own words, I said. You get to throw a 1 and I get
• 39:33
  to throw a one. OK.
• 39:35
  He blinked at me for a couple of seconds, but he knew who would
• 39:37
  win that contest, so he just walked away telling me that my
• 39:40
  die from the exploding tanker into the harbour had better be a
• 39:43
  10, he said. I think that was the first time
• 39:48
  anybody ever really stood up to him.
• 39:50
  I mean, hardly surprising. I would imagine Peter Kent's a
• 39:53
  pretty big guy, yes. Yeah, I would imagine so.
• 39:57
  I'm going to close with a quote from the big man describing his
• 39:59
  creative process. He says what I'm good at is
• 40:01
  working with actors to create scenes and then editing their
• 40:04
  performance to get the absolute best vibrating version of that
• 40:07
  scene and then share that with the audience.
• 40:09
  Yeah, kind of rare moment of almost modesty there from ING.
• 40:17
  The cast. Our cast list includes the York,
• 40:22
  JLC and a respected British character actor, and I'm
• 40:25
  starting off. And of course, the obvious place
• 40:28
  Arnold Schwarzenegger, who had dominated the 80s with his
• 40:30
  action workouts and tried to go in the opposite direction with
• 40:33
  Twins and Kindergarten Cop. And now he was back on familiar
• 40:36
  ground. Yeah, and what can we say about
• 40:38
  the big man? Arnold is numeral Uno yet again.
• 40:42
  He is a formidable force, an important figure, physically
• 40:46
  works in all the action sequences.
• 40:47
  Snap and next like there's no tomorrow.
• 40:49
  That's classic Arnie. After the truth serum scene,
• 40:53
  when Harry and Helen Maker escape, Harry flicks up a gun
• 40:56
  from the ground by standing on the length of wood.
• 40:58
  It's the greatest move that Arnold's ever made.
• 41:01
  It's amazing. It's an AK47 as well isn't it if
• 41:03
  I'm not mistaken? It's such a cool move.
• 41:05
  Yeah, it's great. And despite my issues about
• 41:08
  nobody in this world batten and eyelid at anything that Harry
• 41:11
  says, it's all taken as gospel, I'd say that this is by far and
• 41:14
  away Arnold's best performance. You mentioned at the top W you
• 41:18
  think it's up there? I think it is.
• 41:19
  It's the action stuff, of course.
• 41:21
  Body shows decent comic chops. He traverses a few ranges of
• 41:25
  emotions here, yeah. Yeah, yeah.
• 41:27
  There's obviously question marks as I'm saying these things.
• 41:30
  Few ranges. Of emotions.
• 41:32
  Yeah, a few. There's an inflection in my
• 41:34
  voice. He.
• 41:35
  Gets a big glassy eyed at one point which is good, yeah.
• 41:39
  I can certainly feel the sickness that he feels in the
• 41:41
  pit of his stomach when he finds out that Helen is that Helen is
• 41:45
  having an off the. Yeah, And they're too bad that
• 41:50
  he wants to save his wife and child at the end for certain.
• 41:54
  And I think this was just a perfect vehicle for him because
• 41:56
  he tried to diversify from the end of the 80s to more comedic
• 42:00
  roles. But his bread and butter is
• 42:01
  action. This film is the perfect blend
• 42:03
  of the two genres. I don't think he should be the
• 42:06
  funny 1. The situations and the side
• 42:09
  characters should do the heavy lifting on that score.
• 42:11
  And then he can just chip in from time to time.
• 42:13
  Yeah. And I think this gives him.
• 42:15
  This is the perfect balance of those two genres.
• 42:18
  Very funny when Helen asks if he's killed anybody.
• 42:21
  Yeah, but they were all bad. Yeah.
• 42:25
  That whole sequence is great. Great.
• 42:28
  It may be difficult to hear people listening you 2 fellas,
• 42:31
  but this is Arnold showing a range of emotions from drama to
• 42:36
  action to comedy on top form. Although you know, a range of
• 42:40
  emotions, drama, action, comedy, action for certain.
• 42:42
  But I do use those words loosely.
• 42:44
  But he certainly gives a performance that I don't think
• 42:47
  anybody would have seen possible in 1984 when he was played The
• 42:51
  Terminator. Not very.
• 42:52
  Yeah, that's a. Ten years later, yeah.
• 42:54
  Yeah. And obviously, as we're saying,
• 42:57
  action scenes, they came very, not really to Arnold, but he
• 42:59
  struggled with the dance scenes. He rehearsed for six months and
• 43:02
  his goal was being as good as Pacino in Scent of a Woman.
• 43:05
  And the reason that he used this as a Yossi is because the song
• 43:08
  he dances with JLC to at the end is the Argentine song by Una
• 43:13
  Kabitha, and that's the same song from Scent of a Woman.
• 43:16
  Brilliant. Yes, Schwarzenegger has said
• 43:17
  that this film was the one he enjoyed the most in his entire
• 43:21
  career. I think you can see that as
• 43:23
  well, he said. It was a life changer and
• 43:26
  something I would do again if I ever got the chance.
• 43:29
  Yeah, however, he did get frustrated with Cameron's
• 43:32
  multiple take approach that we mentioned earlier.
• 43:34
  When asked if he would work with Jim again, he said it depends on
• 43:37
  how long he wants to shoot 1 scene for.
• 43:40
  You can see that though, he's got so much coverage of
• 43:43
  everything. I think Arnold just, he's just a
• 43:46
  great guy. He doesn't take things too
• 43:47
  seriously. He's always quick with a quick,
• 43:50
  quick quip. Yeah, and I think Cameron knows
• 43:53
  how to direct them as well over anybody else.
• 43:55
  Yeah, yeah. So the big man coming through
• 43:57
  one of the most memorable performances of his career.
• 44:00
  His last great film, maybe. Yeah, to struggle to think of
• 44:04
  anything after it. His last big, big, big film.
• 44:07
  Yeah, definitely. Next firm ATRM favorite?
• 44:13
  Yes, Jamie Lee Curtis, who was at home in any genre after films
• 44:17
  like Halloween, A Fish Called Wander and Blue Steel.
• 44:20
  Westie. Yeah.
• 44:21
  Your thoughts on her work? Here is Helen Tasker.
• 44:24
  I mean, as Helen Tusker, this is quite a rule to carry.
• 44:27
  And I think you forget about that when you watch Jamie Lee
• 44:30
  Curtis. Because I think she does this
• 44:31
  with such heart and such believability that this could
• 44:35
  very easily have disappeared because this is the whole second
• 44:38
  act of the film. This is a subplot, more or less.
• 44:41
  Her whole back story and arc is based on something that has
• 44:45
  absolutely fuck all to do with the plot, has nothing to do with
• 44:48
  the film, nothing to do with the story.
• 44:50
  So you've got to have a character that you're really
• 44:51
  rooting for and you've got to have one that's just absolutely
• 44:55
  drenched in believability. And I think she is, but it's
• 44:58
  very much at the same time a James Cameron female character.
• 45:02
  There is definitely elements of Sigourney Weaver and here.
• 45:06
  There's definitely elements of Linda Hamilton here.
• 45:08
  There's definitely elements of Kate Winslet in here.
• 45:11
  You've got, it seems to just have these notes where he goes,
• 45:14
  right? This is an emotional female
• 45:16
  character. She acts like this.
• 45:18
  This is a female character who's at the end of our arc, and she's
• 45:20
  badass and she acts like this. It's kind of one note.
• 45:23
  But what GRC does is she takes that one note, but she adds a
• 45:26
  few harmonics to it. She adds a few little extra
• 45:29
  flourishes around the edges that I think in any of their actor
• 45:32
  actress, because I mean, I know she wasn't the first choice for
• 45:34
  the role Ridge. It was Jordie Foster.
• 45:36
  So I think she left to do now. But I think Jordie Frasco would
• 45:39
  have been absolutely brilliant. But would she have had the level
• 45:42
  of vulnerability that JLC brings?
• 45:44
  Because you definitely need that.
• 45:46
  And that she gets a great support from Arnold
• 45:49
  Schwarzenegger as well. I think you can see they were
• 45:50
  very close. Their chemistry is wonderful.
• 45:53
  He gives her a lot of space just to kind of hold the screen and
• 45:56
  really react. I mean, the scenes that are
• 45:58
  coming up in the whole Act 2, I guess with that subplot, some of
• 46:01
  that's really fucking cruel unnecessarily.
• 46:06
  But she plays it really well where you're just completely on
• 46:08
  a side and she doesn't feel victimized because she can hold
• 46:11
  her own with it. And it's a love for a family and
• 46:14
  a love for what she's built. But she's losing herself as a
• 46:16
  person. And I think you need somebody
• 46:19
  who's believable in unbelievable situations.
• 46:21
  And I think she's fantastic. Like I say, it leads the second
• 46:24
  act and makes the third act even better when she's in peril at
• 46:27
  the end of and you know, and everyone's just recognized and
• 46:29
  Harry at that point, it's like hanging from a helicopter and
• 46:32
  you know, then you should just recognizes him and there's a
• 46:35
  great third act would not be as good without JLC in the second.
• 46:39
  Yeah, yeah. I think she's by far and away
• 46:40
  the best performer. She's got the arc.
• 46:42
  She goes through a complete makeover physically and that
• 46:45
  interrogation scene. She goes through a range of
• 46:48
  emotions and she's completely believed.
• 46:50
  Well, I think she's just great here.
• 46:51
  Yeah. Cameron knew of GL CS work after
• 46:54
  her star and role in Blue Steel, directed by his then wife,
• 46:57
  Catherine Bigelow. That's right, he wanted her for
• 47:00
  this part, but for stiff resistance from Arnold himself.
• 47:02
  He didn't think she had the chops, right?
• 47:04
  Cameron accepted that he was right and started to look
• 47:07
  elsewhere. OK.
• 47:08
  Yeah, and these are the names linked to the part included
• 47:11
  Rosanna Arquette, Gina Davis, Madonna, Sharon Stone, Kim
• 47:15
  Basinger, Melanie Griffith and Emma Thompson.
• 47:18
  But then after watching JLC in a fish called Wonder, Cameron knew
• 47:21
  she was the one in US on to trust him on this one.
• 47:24
  I mean, you don't need much more confidence in than that.
• 47:26
  Yeah, Yeah. The big man begrudgingly agreed
• 47:29
  and later admitted that he was wrong, which very rarely
• 47:31
  happens. I think Jamie Lee was perfect.
• 47:34
  So much so that after editing the film, Cameron contacted
• 47:36
  Arnold to ask if he would allow Jamie Lee's name to be added
• 47:39
  next to his above the movie title, and Arnold said yes
• 47:42
  immediately. Yeah, just because you play such
• 47:44
  a huge part in the narrative. Yeah, yeah.
• 47:46
  Yeah. Jamie Lee later said that it was
• 47:48
  a real Mensch move on Arnold's part.
• 47:51
  It is. Yeah, Definitely.
• 47:52
  Yeah. So as we're talking about JLC,
• 47:55
  it's time to introduce our first patron question.
• 47:57
  This one is from Roger Pedacta. Hi, Rog.
• 48:01
  We've mentioned this a number of times, but this is the benefits
• 48:04
  of being a patron of all the right movies.
• 48:06
  You can ask questions for the film that we're talking about,
• 48:09
  and we'll answer them on the show.
• 48:10
  Roger says, OK, gents, time to administer the truth serum while
• 48:14
  Arnold dominates the screen in magnificent fashion and
• 48:17
  outrageous. Nick, I think you would say
• 48:19
  you're right. Yeah, correct.
• 48:21
  To me, the magic this film owes a lot to GLC.
• 48:24
  Her art from playing Jane housewife to terrorists thwart
• 48:27
  an ultra babe is always a pleasure to behold.
• 48:29
  And he says, and let's face it, no one can drop an Uzi down the
• 48:32
  stairs like she can. Well, that's true enough,
• 48:34
  correct. That said, who was some of your
• 48:36
  favorite surprise or reluctant action heroes who were just
• 48:39
  normal people at the start of the film?
• 48:41
  No combat training, no martial arts, just a regular jaw.
• 48:44
  Jane, Boris or Doris. Right.
• 48:47
  Thanks. And as always, love the content
• 48:49
  and keep up the good work. Well, thank you, Rog.
• 48:51
  Oh. Bless you.
• 48:51
  Thank you. Appreciate it very.
• 48:53
  Kind. A great question, Matt.
• 48:55
  Do you want to take it away first?
• 48:57
  Sure, I've got two. The first one to keep in mind is
• 48:59
  Billy's mother in Gremlins, because Billy might hold the
• 49:03
  majority of them up in the cinema, but he's got nothing on
• 49:05
  Mrs. Peltzer when she sees them in her kitchen, wanders in the
• 49:09
  blender, stabbed one to death, just pinning it, outrageous.
• 49:13
  And then pushing the third one in the microwave.
• 49:14
  I mean, do as she says and get out of her kitchen because she
• 49:17
  takes more prisoners and that's saying that's amazing.
• 49:19
  Damn straight. Yeah, great.
• 49:21
  And the second one I wanted to mention is Shaun and Shaun of
• 49:23
  the Dead, because he's just absolute everyman.
• 49:26
  Slacker at the start, no special skills in anything really.
• 49:30
  But by the end he's blown zombie heads off like he's a
• 49:32
  sharpshooter. Yeah, especially when he comes.
• 49:35
  In Yeah, when he goes I. Said leave.
• 49:37
  Leave alone that shot. Amazing.
• 49:40
  Great, fuck a doodle do. What about you, Westie?
• 49:47
  I've got. Four, that's called mine.
• 49:49
  Ash from the Evil Dead. Brilliant too.
• 49:51
  I think that's brilliant. If you don't know that journey,
• 49:54
  just come watch them because I'm not going to spoil them for you
• 49:57
  yet. Jim in 28 Days Later.
• 49:59
  Oh yeah. Absolute badass at the end of
• 50:02
  it. Stanley Goodspeed and the Rock
• 50:04
  starts off as a nerdy scientist and he's pretty badass by the
• 50:07
  end. And one that's not necessarily
• 50:09
  an action hero, but one that has a fantastic arc and he turns
• 50:12
  into a bit of a badass, but maybe because he loses his mind
• 50:15
  slightly. But it's a performance that
• 50:16
  stuck with me for a while. Is Sam Rockwell in Three
• 50:18
  Billboards? Right.
• 50:20
  OK. His arc from just being, you
• 50:21
  know, the ignored, Placid idiot in the town to the one who's
• 50:24
  kind of taken retribution through grief.
• 50:26
  I think it's just an incredible performance, Really, really
• 50:28
  strong from Rockwell. It is, yeah.
• 50:30
  Great. That's AI mean.
• 50:31
  That's a great film. When I think about best
• 50:34
  reluctant action heroes, I always think that they kind of
• 50:38
  discover something about themselves that they didn't know
• 50:40
  that was there. So with that in mind, when I
• 50:43
  think of reluctant action heroes, and this is an obvious
• 50:46
  one, but I always see John McClain.
• 50:48
  I mean, I know he was a policeman, but you know, he's
• 50:50
  indecently soft around the edges and these buddies off duty.
• 50:53
  It's Christmas, he's come to try and make it up with his family.
• 50:56
  He didn't want any part of this. And by the end he realizes that
• 50:59
  he's a huge part of the problem between him and Holly.
• 51:03
  And that's why a big part of what makes that hard, as iconic
• 51:06
  as it is, I think Hoffman in Straw Dogs, it isn't quite the
• 51:11
  sight to behold. His heart from my old mannered
• 51:14
  boffin to house fortifying killer machine is incredibly
• 51:17
  powerful, incredibly sickening. But yeah, it's certainly a stand
• 51:22
  out. And finally, Cary Grant, Roger
• 51:24
  Thornhill, North by Northwest. Yes, lovely.
• 51:28
  Yeah, case Mistaken identity sends him all over the US
• 51:31
  fumbling his way out of deadly situations.
• 51:34
  Pure class. Yeah, he is pure class by the
• 51:37
  end, James Bond by the end, yeah.
• 51:38
  Absolutely. Yeah, a great question, Raj.
• 51:41
  Thank you very much. Yes, Thank you, Matt.
• 51:43
  Thanks, Roger. So I think we all agree Jamie
• 51:46
  Lee gives the best performance in this film by a long stretch,
• 51:49
  and it's on there with her best work.
• 51:51
  Yeah. It is, yeah.
• 51:55
  Finally, a British actor who star Rose in the mid 80s
• 51:57
  following recognition for his TV work and his role in David
• 52:00
  Leans, A Passage to India, Art Malik as Salim Abu Aziz.
• 52:05
  Matt, what do you think of his work here?
• 52:07
  There's an elephant in the room here and we have to talk about
• 52:10
  it. We'll talk about it at the end
• 52:12
  as well. As he said at the top, the
• 52:14
  cultural representation here leaves a lot to be desired very
• 52:18
  much. That's no reflection on Malik.
• 52:20
  He's very good. He's got good presence.
• 52:23
  You believe he'll he'll carry out these threats, but all the
• 52:25
  same, this is saw on the nose and saw 90s that it hurts this
• 52:30
  character. You can't just give them one
• 52:34
  line where he says we're doing this because they are murdering
• 52:37
  our women and children and you can't then then go there you go.
• 52:40
  That's giving them some depth. That's morally ambiguous.
• 52:42
  Isn't it sordid. No issues there because when he
• 52:46
  says that he's ranting and he's raving like 90% of his scenes he
• 52:50
  has dialled up to 11 and there's no nuance to this character.
• 52:52
  It's just these are scary bad guys because the Arabian, they
• 52:57
  have a different skin color and they're not like Faisal.
• 52:59
  Faisal, he's American now. He's got all the American ways
• 53:02
  and he talks like Americans say he's OK.
• 53:04
  It's just, oh, these guys, the foreign, and they're all a bit
• 53:07
  stupid and they're a bit scary at the same time.
• 53:09
  But like I say, it's not Malik's fault.
• 53:11
  He's a very good actor. He's done lots of good work and
• 53:13
  he is good here, but he's just given such a cliched cow to to
• 53:17
  work with and it's just emblematic of one big kind of
• 53:20
  glaring issue with the film. Yeah, it is.
• 53:23
  It is. And you're talking about Faisal
• 53:25
  there as well, Matt. Maybe that's played by Grant
• 53:27
  Heslov, who's Jewish. There's just a big problem there
• 53:32
  for me. Massively, yeah.
• 53:34
  Yeah, big question marks over that.
• 53:36
  Yeah, and Cameron had actually seen Art Mallik in City of Joy,
• 53:40
  which is Roland Draft's 1992 drama, and he offered in the
• 53:43
  part without an audition. But Malik was no strange to the
• 53:46
  spy genre, having starred in Timothy Dalton's first Bond out
• 53:49
  in Living Daylights. Living daylights.
• 53:51
  Yeah, yeah, great. Malik took the role mainly
• 53:53
  because he'd been out of work for over a year and owed A
• 53:56
  sizeable lump sum to the Inland Revenue of Over 30 grand,
• 54:01
  allegedly. Ouch.
• 54:04
  Wow, You'd been out of work because he'd hit the bottle hard
• 54:07
  after his success in the mid 80s, right.
• 54:10
  And he'd also ran up over 50 grands worth of debt on credit
• 54:13
  cards as well. And this gave him, kind of gave
• 54:15
  him the kiss of life. It changed his career
• 54:17
  trajectory. He made him reconcile with his
• 54:19
  wife. A wonderful story.
• 54:21
  Yeah, he's a great. Body of those and he's
• 54:22
  fantastic. Yes, he is.
• 54:24
  Yeah, he is. And the material doesn't really
• 54:26
  serve him, serve his talents as as much as it.
• 54:29
  Should not as much as he does some amazing and acting though
• 54:31
  It's his dialogue that lets him down.
• 54:33
  I think everything just incredible double takes and they
• 54:35
  some incredible looks and we'll get into.
• 54:37
  Yeah, there are. Towards the end of the film.
• 54:39
  But he's he's fantastic in most of it.
• 54:41
  He is. Yeah, well, actually he's got a
• 54:42
  real presence to him, which helps.
• 54:44
  Amazing. So a good mix in the cast, not
• 54:46
  to mention the likes of Tea Carrera, Tom Arnold and of
• 54:49
  course Bill Paxton. Oh yes.
• 54:51
  Malik does decent work underserved by the material, but
• 54:54
  it's Arnold Schwarzenegger and Jamie Lee Curtis that made the
• 54:57
  film what it is. Absolutely, yeah.
• 55:05
  All right, movies, we'll be right back.
• 55:07
  Thank you for supporting us by listening to the sponsors for
• 55:10
  this episode. Thank you for listening to our
• 55:13
  sponsors. And now it's back to the show.
• 55:19
  The middle. Harry has made it home late
• 55:23
  again, and he pays Helen a visit, work to apologize, and
• 55:27
  then his whole world falls apart.
• 55:29
  Helen's playing away from home, and he isn't happy about it.
• 55:32
  Is he mad? He's not, and he does the worst
• 55:35
  attempt at trying to hide in an open plan office I've ever seen
• 55:39
  in my life. The size of only size.
• 55:42
  Yeah. Like we can see you, mate.
• 55:45
  You're not well hidden. Like how Helen doesn't seem.
• 55:47
  I have no idea. The clocking in that scene,
• 55:50
  though, is decent to kind of cover it up.
• 55:53
  Yeah, no. True lies, no matrix like the
• 55:55
  open. But then he breaks the news to
• 56:01
  to give, and he's just the worst friend to have in this
• 56:03
  situation. You're welcome to the club, man.
• 56:05
  You'll get used to it. And his, like, rationale of how
• 56:09
  he's going to get over it. We're going to catch some
• 56:11
  terrorists. We're going to beat the crap out
• 56:12
  of them. You'll feel a hell of a lot
• 56:13
  better. Like, that's such a funny line
• 56:16
  that really, really made me laugh.
• 56:17
  And it's what we've been saying. No, Arnie does have a comic
• 56:19
  sensibility to him. It is genuinely funny seeing
• 56:22
  this huge guy who was seen doing huge things be so physically
• 56:26
  wounded by this. They're like wandering in front
• 56:28
  of the bus and then it's this pot turn, which is great.
• 56:31
  Like a guy in his position, he can do all the surveillance he
• 56:34
  wants to protect his country, but this is what tax dollars are
• 56:36
  buying. One guy spying on his wife to
• 56:38
  try and find out about her affair instead.
• 56:41
  It's ridiculous. No, no questions asked.
• 56:44
  No, no. No questions asked, no use.
• 56:46
  Whatever resources you want, it's fine.
• 56:48
  Yeah, do whatever you want. I know you're supposed to be
• 56:50
  tracking down a terrorist cell, but no, we'll just do this all
• 56:53
  day instead. I mean, is this?
• 56:55
  I'm not giving the film too much credit for saying this is, like,
• 56:58
  quite satirical because these are people supposedly keep an
• 57:01
  innocent civilian safe every day.
• 57:03
  Yeah. I'm stretching.
• 57:04
  This I don't think of. Doing this.
• 57:05
  Instead. Is that written?
• 57:06
  In like that. No, I don't think it is
• 57:08
  whatsoever. I'm trying to be kind of a
• 57:09
  scathing attack, yeah. I love James Cameron's satirical
• 57:14
  angle that he brings to every film.
• 57:16
  Yeah. He's like, I'm on the way.
• 57:20
  Ianucci at times, isn't he? So many undercurrents.
• 57:27
  Yeah, I think it's pushing her to call it Sally.
• 57:30
  But you know, this is where the film's gone and Arnie's taking
• 57:32
  us with him. He certainly is.
• 57:35
  Great, right. So now here we go.
• 57:36
  We get introduced to one of the best characters in the film,
• 57:39
  Simon, played by Bill Paxton. We didn't talk about him in the
• 57:41
  cast because we're going to talk about all these scenes anyway.
• 57:43
  And he's just so he's such fun to watch played straight and
• 57:46
  then all of a sudden he takes credit for the Marriott.
• 57:49
  He's taking credit for a moves in.
• 57:50
  Then you know he's a joke from there.
• 57:52
  It's just that's it. The gloves are off.
• 57:54
  You take your seat belt off, you just you're on cruise control.
• 57:57
  And we're in a really nice, comfortable place here because
• 57:59
  you're just watching Paxton absolutely flow.
• 58:01
  And she's like, as bad as Cairo. Cairo was day at the beach next
• 58:05
  to this Cairo Cairo isn't this like absolutely love it and he's
• 58:16
  like 2 of them won't bother me again it's good.
• 58:18
  I can't take credit for it. It's training.
• 58:20
  It's. So.
• 58:21
  Good. It cuts back and like keeps like
• 58:24
  I'm starting to like this guy and then you get that beat from
• 58:26
  our. We.
• 58:28
  Have to kill him obviously. Absolutely wonderful.
• 58:31
  And then it's like, smart. I have to kill him, obviously.
• 58:33
  And then there's that smash cut him just driving more than a
• 58:36
  woman. And he's just having a great.
• 58:39
  He's just, yeah, just laughing. More than a woman.
• 58:42
  Hair blown in the breeze more than a woman takes like yeah
• 58:45
  amazing turn into that he's like he's a car salesman this is just
• 58:48
  keeps getting better and better and then there's another beef
• 58:51
  from Arnie and he's just like come on if this was me you'd be
• 58:54
  laughing your ass off and that lovely push into the binoculars
• 58:56
  and he just smashes where the. Lens.
• 58:58
  Absolutely. The lens just pops, Smash
• 59:01
  Cutter, then the blinds are opening.
• 59:03
  Arnold's in there. She likes you too.
• 59:05
  Amazing, right? He's Powder is absolutely
• 59:08
  unbelievable, but we've got this moment where they're in the car
• 59:12
  now. If you think Cameron is just
• 59:13
  letting us getting away with the little back and forth narrative
• 59:16
  sequence between two guys where we're both know what's happening
• 59:19
  underneath it, but doesn't put a little switcheroo on there
• 59:22
  doesn't hook way and just make this incredibly more complicated
• 59:25
  for us account that it needs to be in the whole crew to be
• 59:27
  perfectly honest with you, that one side to the other way Simon
• 59:31
  just explaining this whole plan everything that he does, he's
• 59:34
  laying on the table. This is what you do and it's not
• 59:36
  just to tell the truth doesn't even handle that great.
• 59:38
  That's not what it's about and his dialogue.
• 59:41
  I'm not going to repeat any of his dialogue here because it's
• 59:43
  absolutely disgusting, ridiculously disgusting of just
• 59:48
  like I've just met this guy. He's awful.
• 59:51
  He's just leaning on thick, really thick.
• 59:54
  It's what you want, isn't it? And it's just like, not really.
• 59:57
  But then he said, well, you've got to have an angle on it,
• 59:59
  right? And as soon as he mentions the
• 1:00:00
  word angle, the camera moves from our side of the car because
• 1:00:04
  Paxton's driving and move it. Watch it again.
• 1:00:06
  It tilts over the top, comes across the windscreen and takes
• 1:00:09
  you completely into Simon's world.
• 1:00:12
  So just like you've got to find an angle on this as he's
• 1:00:14
  explaining the cameras up over the front and right down the
• 1:00:17
  other side. That's that's unnecessary.
• 1:00:19
  Just just cut. From 1:00 to the other side.
• 1:00:22
  And that's fine, but it's wonderful.
• 1:00:23
  And that's what camera means. It's like you don't lose track
• 1:00:26
  of this part of the film because it's shot like an action
• 1:00:28
  sequence, a dialogue sequence of the car shot like an action
• 1:00:31
  sequence. Yeah.
• 1:00:32
  And he said, I can't tell you it's a secret that will smash
• 1:00:34
  the hot dogs and that. Love that bit just chilling out.
• 1:00:39
  It's classic isn't It's like being in every film that you
• 1:00:42
  see, like everybody cop films and Lethal Wetman.
• 1:00:44
  It's in Red Heat to like all of their moments where they just
• 1:00:46
  stop for a second or Dragnet whether you stop for a second
• 1:00:48
  have a hot dog in this backwards and forth each other and it's
• 1:00:51
  what about their husbands dickless.
• 1:00:54
  Dickless. They.
• 1:00:55
  Took care of business I'd be. Out of business.
• 1:00:58
  It's got shit all over his face. It's just absolutely class.
• 1:01:00
  And the great thing about that moment is signing is absolutely
• 1:01:03
  stuff in his face. Confident Harry's just holding
• 1:01:06
  it in the tinfoil. Yeah.
• 1:01:07
  Hasn't even opened his odd dog. He's not having it, not
• 1:01:09
  interested. He's just sick to his stomach
• 1:01:11
  with this guy just listening to him.
• 1:01:13
  It just gets to that point where he's driving back and he's like,
• 1:01:16
  can you keep it under 90? I'm still trying to pay for this
• 1:01:18
  dental work. That's amazing.
• 1:01:22
  And it gets to that incredible moment and you know what I'm
• 1:01:24
  going to say is that smash cut from a punching him in the face.
• 1:01:27
  It just comes in and it's just that bang and he's just his head
• 1:01:31
  falls back and bleeding in exactly the right position.
• 1:01:33
  And you just the first time you watch you go fucking hell, he's
• 1:01:35
  killed him and see why he's done it.
• 1:01:37
  And again, it starts with a close up into Arnold's face and
• 1:01:40
  comes back out again. Just for a split second you
• 1:01:42
  think it's quiet. And then there's.
• 1:01:45
  That laugh. Booming over the top of the
• 1:01:50
  soundtrack, he's just about to find out whether he slept with
• 1:01:54
  her or not, and he's like, oh, then you're going to miss the
• 1:01:55
  turning. Watch that camera move again.
• 1:01:58
  When he turns into the light, it's just room comes past like
• 1:02:01
  on a crane. It takes your breath away.
• 1:02:03
  But it's just a dialogue sequence when he's trying to
• 1:02:05
  find out if this guy is sleeping with his wife.
• 1:02:07
  It's just incredibly well paid. What an introduction to this
• 1:02:10
  character. It does feel like a separate
• 1:02:12
  film almost. Yeah, yeah.
• 1:02:14
  But for me, I always love this introduction to Simon.
• 1:02:17
  I mean, it's amazing if Paxton wasn't hamming it right up and
• 1:02:19
  being incredible then. There'll be until fortunate.
• 1:02:23
  We do in this. Yeah, exactly.
• 1:02:26
  In early scripts, the character of Simon was the main bad guy.
• 1:02:29
  The bumbling idiot act was just that, an act.
• 1:02:32
  Paxton was disappointed that his character changed, but was
• 1:02:34
  persuaded by on to stay on board.
• 1:02:36
  Yeah, I mean, it's a small role for somebody like Paxton.
• 1:02:39
  Yeah. And you've given for thinking
• 1:02:41
  that a lot of the work going on here from Paxton was improvised,
• 1:02:44
  considering the loose nature of the performance.
• 1:02:46
  He's all over the place. Even Cameron thought a lot of it
• 1:02:48
  was off the cuff. But after his death, Cameron
• 1:02:51
  said he once showed me the margin notes in his script for
• 1:02:53
  True Lies. And I was stunned to see that
• 1:02:55
  the broadest, most improvisational semen gestures
• 1:02:58
  of his Simon character were minutely detailed, like an
• 1:03:01
  astronauts checklist. As well.
• 1:03:04
  Amazing. Well, I'm sure we all have a
• 1:03:05
  fondness for Bill Paxton still very much.
• 1:03:07
  Yesterday taken too early and Cameron said it is memorial.
• 1:03:11
  I am not a warm and fuzzy guy, but I regret that I didn't tell
• 1:03:14
  him that I loved him. Mutual.
• 1:03:18
  Yeah, definitely. So from this scene, it's all
• 1:03:20
  happening between Helen and Simon.
• 1:03:22
  She's been taken in by this act. She's seduced by the lifestyle.
• 1:03:26
  She wants to break free from her domestic jail, and she's taking
• 1:03:29
  the plunge. Amazing.
• 1:03:31
  Harry gets the transcripts of Helen's conversation, despite
• 1:03:34
  some resistance from Gabe, and he's furious.
• 1:03:37
  Yeah. This moment where Harry gets out
• 1:03:39
  of the car and demands the missing page was shot 20 times.
• 1:03:43
  Tom Allen misses these lines in the 1st 2 takes.
• 1:03:45
  He got them on Take 3, but Cameron insisted on another 17
• 1:03:49
  takes with improvised lines. Well, yeah, I suppose he's got
• 1:03:52
  the comic chops. He can do that.
• 1:03:53
  Yeah, exactly. The one that made it in the
• 1:03:55
  final cup was my turn to drive, which is a funny line.
• 1:03:58
  Yeah, yeah. Yeah.
• 1:03:59
  Similarly, Tom Arnold also did 15 improvised takes at the
• 1:04:02
  moment in the task a house. You mentioned it earlier, Matt
• 1:04:05
  and he improvised line. That's the line.
• 1:04:07
  And the one that's in there is I remember the first time I got
• 1:04:09
  shot out of the cannon. It's a great.
• 1:04:11
  Line, yeah. It is.
• 1:04:13
  And actually doing this thing, Arnold punched the wrong car
• 1:04:16
  window. And with that take in the film
• 1:04:18
  being him actually putting his first through a real car window.
• 1:04:21
  And therefore Tom Arnold's surprise reaction is genuine.
• 1:04:24
  Wow. Wow.
• 1:04:25
  Yeah, amazing. Give it to goddamn page.
• 1:04:29
  So funny. And after this, Harry pulls in
• 1:04:31
  the big guns from Omega Sector to bring down Simon and Helen
• 1:04:34
  and everybody is on board. Imagine the resource and the
• 1:04:38
  money. That's too much.
• 1:04:40
  Can I get this signed off? No.
• 1:04:42
  Yeah, there is some really great imagery here and intrigue in the
• 1:04:47
  moment under the Key bridge where Helen's waiting for Simon.
• 1:04:49
  He picks her up in the vet and suggests keeping her head down
• 1:04:52
  until they're out of the city. Jamie Lee's face during that
• 1:04:55
  scene is a picture. She's so far out of her comfort
• 1:04:58
  zone. Yeah.
• 1:05:00
  Head to the guy's lap. All right, Yahoo?
• 1:05:02
  Yeah, Yeah. That's Cameron's voice.
• 1:05:05
  James Cameron. He loves a voice.
• 1:05:08
  He does. He really does.
• 1:05:10
  Gibbs lying after Cameron says that he says maybe she's sleepy.
• 1:05:19
  It's great. And this is where Simon sleazes
• 1:05:22
  his way into Helen's affections. He needs her to be his wife on a
• 1:05:25
  covert up to Paris, with the quick stop off in London as
• 1:05:28
  well. Two actors here are amazing.
• 1:05:32
  Paxton's playing Simon with so much sincerity and kind of
• 1:05:35
  appreciation of that. Helen's putting herself in the
• 1:05:38
  harm's way, and Helen's a bag of nerves that has really shown
• 1:05:41
  Helen's vulnerability in this moment.
• 1:05:43
  The two hours been off each other really well.
• 1:05:45
  But she says it's been a long time since anybody but Harry has
• 1:05:48
  touched me like that. It's Simon's response.
• 1:05:50
  I know, I know. It's, it's open for me too.
• 1:05:58
  And then all hell breaks loose. Simon's face when his trailer is
• 1:06:02
  sawn in half. It's like that, looking down on
• 1:06:05
  him, like up his nostrils. With that Tash.
• 1:06:11
  Brilliant. His screams of take her God
• 1:06:14
  don't take me as he's bundled in the back of the van.
• 1:06:18
  What a. Snake.
• 1:06:19
  Brilliant. Great scene.
• 1:06:21
  Yeah. Yeah.
• 1:06:22
  So an outrageous departure from the main story, but great
• 1:06:24
  performances from GLC and Paxton holding things together.
• 1:06:27
  Yeah, instead of showing a little understanding, Harry
• 1:06:33
  psychologically torment Helen before sending her on a cruel
• 1:06:36
  mission. And Westy, we're starting with
• 1:06:38
  you here. Yeah, I mean, this is cruelty,
• 1:06:41
  let's be honest with you. And it's very much like every
• 1:06:44
  time I watch it. If it wasn't Jamie Lee Kerr is
• 1:06:47
  absolutely nailing the end of the scene, It would be
• 1:06:49
  incredibly hard to watch. But now I know what's coming, it
• 1:06:52
  is a little bit easier to take. But Christ almighty, how
• 1:06:55
  insecure are the masculine characters in this moment?
• 1:06:58
  Please, you know, they need reassurance that the matter they
• 1:07:01
  need reassurance that the loved they can do anything they want.
• 1:07:05
  But she's got to tore the line. She's got to be in the house.
• 1:07:07
  She's got to look after the child.
• 1:07:08
  She's got to do. It's really, really Stone Age.
• 1:07:11
  Very one sided, very one, not very sexist, I think on that
• 1:07:16
  hand. But there is some great moments
• 1:07:18
  in here. There are.
• 1:07:19
  The first meeting of Simon. So how did you meet them?
• 1:07:22
  And she's like, well, that smash cut to that same restaurant
• 1:07:26
  walks past and he's disheveled slightly.
• 1:07:28
  He's got that it just carry that everywhere.
• 1:07:30
  So it's got all the crab in it. It's.
• 1:07:31
  Just all these there's. So much stuff in there.
• 1:07:33
  It's. Brochures for like different
• 1:07:35
  countries. Kuwait.
• 1:07:37
  Kuwait, Cairo. Absolutely amazing.
• 1:07:41
  So he's walks pasta and then just kind of looks up and down
• 1:07:43
  to things, right? Yeah, that's that's the next
• 1:07:45
  target. I'll go for it.
• 1:07:46
  You've got can you take this? It's a case of national
• 1:07:49
  security. I can't explain.
• 1:07:50
  And then just that beat. It's just like, yeah, I guess
• 1:07:53
  so. He's just looks behind him and
• 1:07:54
  he's like shit and then runs. Away love.
• 1:07:58
  That moment, shit, it's absolutely fantastic.
• 1:08:02
  But then the start kind of just going too far, you know, it's
• 1:08:06
  cheating, a common thing for you.
• 1:08:08
  And I think Tom Arnold's tapping into like a real life element of
• 1:08:12
  like, trying to get his own back here of like, maybe he was
• 1:08:16
  cheating on. Maybe it's just like he doesn't
• 1:08:18
  believe he doesn't need to be there, I don't think.
• 1:08:20
  No. But I just think it's an unfair
• 1:08:22
  and advantage asking these questions or somebody you're
• 1:08:24
  supposed to be in love with, asking these questions with
• 1:08:27
  somebody who's a life partner, because that trust should
• 1:08:29
  automatically be there. It's his fault, so he never
• 1:08:32
  becomes the perpetrator for her actions, which he is the
• 1:08:35
  perpetrator for her actions because he's not there.
• 1:08:37
  It's neglect and he is the. Reason that this is.
• 1:08:39
  He is exactly. She wants somebody like him, but
• 1:08:42
  it's just the fact that they keep pushing and it gets to the
• 1:08:44
  point. It's heartbreaking when she just
• 1:08:46
  says, I guess I needed something.
• 1:08:48
  I needed to feel alive, to be needed, to be trusted and to be
• 1:08:51
  special. That it should have ended there.
• 1:08:54
  He should have just said right, that's it.
• 1:08:56
  But they keep going and then she just says no and then loses it
• 1:08:59
  completely and start smashing that glass in, which I think is
• 1:09:01
  fantastic. Great performance.
• 1:09:03
  It's very cruel and it shows a real masculine ego which I'm not
• 1:09:08
  very comfortable with. Yeah, I know you mean.
• 1:09:10
  From there, though, we do get the amazing sequence where
• 1:09:13
  Simon's frightened off, great moment from that camera angle
• 1:09:17
  and the hood's pulled off and then it just comes back and he's
• 1:09:19
  standing over that. Damn great.
• 1:09:21
  Because you just think, well, he's actually doing that.
• 1:09:23
  That's fantastic. But he's dialogue.
• 1:09:24
  He spins around. He said please don't kill me
• 1:09:26
  calling him Carlos. That's not my name.
• 1:09:28
  My name's Simon fucking Lovers. And he's just stood there
• 1:09:34
  completely stripped of everything that he holds.
• 1:09:38
  The his ego has disappeared and it's just we haven't seen your
• 1:09:41
  face put up and it just when he recognises Harry's always face
• 1:09:45
  and the joy that goes back. Maybe I can clone me way out
• 1:09:47
  with this. I can be sneezy again.
• 1:09:49
  Hey, it's you. You still interested in that bed
• 1:09:50
  at all? It's just like still trying to
• 1:09:52
  go. I'll give you the car for free.
• 1:09:54
  I got a small Dick. It's pathetic.
• 1:09:55
  It's just reeling. One thing after the other about
• 1:09:58
  how terrible of a man he is. It's like I'm a really bad man.
• 1:10:02
  Like I'm not a good masculine man.
• 1:10:04
  Like I'm useless. I've got a small Dick.
• 1:10:06
  I'm crap, I have to lie to sleep with women.
• 1:10:08
  I'm rubbish. I've got no masculine ego.
• 1:10:10
  I'm navel and navel it's just. Basically just smashing down his
• 1:10:17
  male ego just to kind of say like, I'm not worth a bullet, is
• 1:10:21
  what he said. Yeah, yeah, yeah.
• 1:10:23
  All mercy, Sir, More. Mercy, Sir, leave us alone.
• 1:10:25
  You're going to shoot me. And then I love Tom Allen's
• 1:10:28
  years. I get lost, dipshit, and they're
• 1:10:29
  just shooting the ground. I mean, what a great character
• 1:10:32
  and what a great way to kind of get them out of there and get
• 1:10:34
  them scared off. But yeah, I mean, this whole
• 1:10:36
  sequence is, it is mixed for me, overly masculine.
• 1:10:39
  And I'm glad that was left in 1994, if I'm honestly.
• 1:10:41
  Yeah, very much silk boxes for Simon.
• 1:10:44
  He was obviously the big guns for her.
• 1:10:49
  And then following this, this is when we see Helen on her fake
• 1:10:53
  assignment. And this, this was really
• 1:10:54
  interesting me because when I was thinking about this film and
• 1:10:57
  channel, why don't I remember too much about it?
• 1:10:59
  Why didn't it stick with me? And what do I remember about it
• 1:11:02
  or feeling about it? The one thing that did come back
• 1:11:05
  to me was like, I do remember feeling quite grossed out for a
• 1:11:09
  large part of this film to do with Helen.
• 1:11:11
  It's what Wesley says. It continues here.
• 1:11:14
  Like this whole thing of Harry set and Helen up with a fake
• 1:11:16
  assignment. Just watching this again, it's
• 1:11:18
  just like, yeah, this isn't great as this bit this
• 1:11:21
  whatsoever. It's just cruelty at this point.
• 1:11:25
  Like, you know, Helen's innocent.
• 1:11:26
  She wasn't having an affair. And I'm just not sure what
• 1:11:29
  Harry's end game is here. Like, what does he think he's
• 1:11:32
  going to get out of this, realistically, that isn't
• 1:11:35
  seriously going to mess Helen up like, and their marriage?
• 1:11:38
  Or the marriage? Yeah, exactly.
• 1:11:40
  She's not going to go or you. Oh, is.
• 1:11:42
  This Did you do all this? You were like, you're a spy.
• 1:11:45
  Wow. Yeah.
• 1:11:46
  Let's thanks for that. Thanks for the last 20 hours of
• 1:11:48
  my life. And then looking at it again and
• 1:11:50
  with the next scene, honestly, it just feels more like a plot
• 1:11:53
  contrivance to get Harry and Helen into a situation where
• 1:11:56
  they can be kidnapped because that's where the film needs to
• 1:11:59
  go to next. Horrific.
• 1:12:00
  And I think it could have got there quicker.
• 1:12:02
  It could have gone there by a very different route.
• 1:12:04
  I think if you combine this with early scenes like Gift
• 1:12:07
  discussing Denny's hormones when she's 14, that's outrageous.
• 1:12:10
  Couldn't believe that some Faisal dialogue in the van
• 1:12:13
  earlier on. There's a really unpleasant
• 1:12:16
  Leary nature to some of this film in its discussion of women.
• 1:12:20
  What saves it, as we've been saying, though, is how good
• 1:12:23
  Jamie Lee Curtis is. AI mean that transformation.
• 1:12:25
  She gives herself, ripping off shreds of address, using the
• 1:12:27
  water from the plant pot to slick back ahead.
• 1:12:30
  It's like Sandy at the end of Greece.
• 1:12:32
  Like unrealisable. Has that guy but.
• 1:12:34
  It's it's that little stumble she does when she gets to the
• 1:12:37
  door, just to remind you she's still the same awkward, klutzy
• 1:12:41
  Helen underneath all this. Doesn't make this thing worth
• 1:12:43
  the door. Just a little bit, no?
• 1:12:45
  And you can tell that that was Jamie Lee Curtis idea, not James
• 1:12:48
  Cameron. Yeah, yeah.
• 1:12:49
  Oh yeah. 100%. So it is up to me to tackle this
• 1:12:53
  awkward scene where Helen is on her mission, Harry has a right
• 1:12:57
  where he wants her, which is an incredibly vulnerable situation
• 1:13:01
  where she's undressing and doing this striptease for a complete
• 1:13:03
  stranger. Who knows what might happen
• 1:13:06
  after this? What husband is putting his wife
• 1:13:09
  through this torture? Yeah, this is awful.
• 1:13:11
  Torn deaf, Right. It's unbelievable.
• 1:13:15
  This is the choice that you made.
• 1:13:16
  It's crazy and this was huge at the time.
• 1:13:19
  It caused tongues to wag when it came out.
• 1:13:21
  And you know, God bless Curtis, she's in Smash and Nick.
• 1:13:24
  Great movies, great physical comedy, but bloody hell, what is
• 1:13:29
  everyone thinking? Everyone involved, It's
• 1:13:32
  shameful. And afterwards when she's lying
• 1:13:34
  on the bed, this must be her worst nightmare come true.
• 1:13:38
  But Harry, being a fucking idiot, thinks it's an
• 1:13:40
  opportunity to seduce his wife by stroking a rose up and down
• 1:13:43
  her body. Yeah, yeah, it doesn't.
• 1:13:46
  It doesn't make sense. Does he think that she's going
• 1:13:48
  to open her eyes, be relieved that it's him and then get
• 1:13:50
  straight down the business? No.
• 1:13:52
  She's violent. Divorce papers.
• 1:13:53
  Lock him up. He's a fake.
• 1:13:55
  This is, Yeah. Horrific.
• 1:13:57
  Yeah. But there is some satisfaction
• 1:13:58
  in Helen given Harry. What for?
• 1:14:00
  Yes. And Arnold convincingly takes
• 1:14:02
  those blows as well before they get carted out.
• 1:14:05
  Yeah, but like you said, it goes all the way around the houses to
• 1:14:09
  get to the point where they're both kidnapped.
• 1:14:10
  A situation where they're both kidnapped.
• 1:14:13
  Yeah, we'll talk about it again and they're writing, but yeah.
• 1:14:17
  So as we've been saying, Helen has the biggest arc in the film,
• 1:14:19
  which is great to see, and that's reflected in her
• 1:14:22
  wardrobe. Conceived by costume designer
• 1:14:24
  Marlene Stewart, Helen starts off with neutral colours, baggy
• 1:14:27
  Browns and creams, but then transforms an action heroin more
• 1:14:30
  to complete with the sultry, slick Back Here.
• 1:14:32
  So look at me isn't as well, Yeah.
• 1:14:34
  GLC had real input into the striptease sequence.
• 1:14:37
  I'll get this. Cameron originally wanted Jamie
• 1:14:39
  Lee Curtis to win. Nothing at all for the scene,
• 1:14:42
  which is outrageous. It's a.
• 1:14:44
  Leader plus that Jamie Lee Curtis objected saying, you
• 1:14:46
  know, Jim, you're going to lose all the comedy because you're
• 1:14:49
  just going to be looking at my bits, which I mean, a way to get
• 1:14:52
  around it is fine, but I think I would have had a bit more venom
• 1:14:55
  with me reply like, get fucked, Jim.
• 1:14:59
  Yeah, idiot. Jamie Lee's alternative
• 1:15:03
  suggestion was to put on a black dress, stuff it with chill, then
• 1:15:06
  she pitched like a three-step transformation, the dress with
• 1:15:09
  the jewel, like someone to die, the Disney Princess dress.
• 1:15:12
  Black is what she said, Then the dress after the minor
• 1:15:15
  alterations, then the saucy lingerie.
• 1:15:18
  Cameron loved it and Stewart created the costume.
• 1:15:21
  Apart from that lingerie, that was Jamie Lee's own personal
• 1:15:23
  set. Victoria's Secret's got a bump
• 1:15:25
  in sales as a result. Wow, amazing.
• 1:15:28
  Jamila Curtis is solely responsible for making this
• 1:15:31
  slightly palatable. Yeah, let's be honest, if it
• 1:15:34
  wasn't for her, it would be really hard to watch.
• 1:15:36
  Really won't be. Yeah, and the striptease scene
• 1:15:39
  was not rehearsed at all. Cameron gave JLC the option of
• 1:15:42
  the song to dance to as well. And she was a fan of Jim Hiatt's
• 1:15:45
  album Bring the Family at the time and chose the number Alone
• 1:15:48
  in the Dark because she said it had a funky rhythm.
• 1:15:51
  And Curtis also said she danced like a do at home when no one's
• 1:15:54
  around. Well.
• 1:15:55
  The fall that Helen takes was Cameron's idea.
• 1:15:58
  I think it's when she slips off the bed and falls backwards.
• 1:16:01
  He thought the scene was becoming too sexy and too real
• 1:16:04
  and he needed to break the spell.
• 1:16:05
  But Arnold didn't know this was going to happen, so his reaction
• 1:16:08
  to get up and help was genuine before he realized he was.
• 1:16:10
  Brain and character did another take after this one, but
• 1:16:13
  apparently there was no spontaneity.
• 1:16:14
  So this one's made in the film, right?
• 1:16:16
  It's a comic beat that is needed for this.
• 1:16:18
  Absolutely, 100%. It's like a gasp of oxygen if
• 1:16:20
  you've been in the water too long.
• 1:16:22
  God for that, right? Yeah, OK, I can breathe again.
• 1:16:25
  Arnold was also not supposed to drop the tape recorder, but
• 1:16:27
  Cameron thought that it fit the scene based on Harry being
• 1:16:30
  spellbound by what he was seeing.
• 1:16:32
  Yeah, it's great. Arnie was late asked in an
• 1:16:34
  interview if his wife objected to him sitting there in that
• 1:16:37
  scene while Jimmy Lee did her thing.
• 1:16:39
  And he said I assured her, honey, I hated every hour of it.
• 1:16:48
  Really, Harry Tusker? That isn't it.
• 1:16:51
  Every hour of it. It was all bad.
• 1:16:55
  So Helen's world is turned further upside down with this
• 1:16:59
  outrageous revelation of Harry's.
• 1:17:01
  At least you can put her clothes on.
• 1:17:03
  Well, exactly. Yeah, the crew.
• 1:17:10
  James Cameron served as writer, director on True Lies, Mirror
• 1:17:13
  and his work throughout his career.
• 1:17:15
  Based on Lato Tal, a French film from 1991, This is a soul
• 1:17:19
  writing credit, so Matt Cameron's writing on True Lies.
• 1:17:24
  You can see where he's coming from with this because he's
• 1:17:27
  thinking about this in terms of balance and he's thinking,
• 1:17:30
  right. First act, all this great spice
• 1:17:32
  of all the action Great. That's going to be amazing.
• 1:17:34
  Second act, I'm going to do this 180 pivot into this whole
• 1:17:38
  infidelity thing and it's going to be really funny.
• 1:17:41
  And then third act, I'm going to bring those two together.
• 1:17:43
  Does it work? I think it does put in very,
• 1:17:46
  very broad strokes. It works.
• 1:17:48
  It's you know, it's, it's the broadest paintbrush you've ever
• 1:17:51
  seen in your life. The right interface to bring.
• 1:17:54
  Roller. It is, yeah.
• 1:17:55
  It's one of those. It's one of those.
• 1:17:58
  And it's when you get in the details and I kind of feel like
• 1:18:01
  we've addressed all the big issues with it anyway.
• 1:18:03
  You know, it is bloated in the middle.
• 1:18:05
  It's got a real misogynistic streak to it.
• 1:18:07
  I mean, if Cameron is looking at this going right, I'm going to
• 1:18:10
  take the Bond films and I'm going to do bigger than Bond has
• 1:18:13
  ever been done before. Great.
• 1:18:14
  But do you not want to maybe take out all the misogynistic
• 1:18:17
  crap from the Bond films at the same time?
• 1:18:20
  Yeah. Dial that up.
• 1:18:21
  Yeah, yeah, no more of that. Yeah, Same with this stuff about
• 1:18:26
  Art Malik's character and the general kind of cultural
• 1:18:28
  representation there. Having said that, there is some
• 1:18:30
  good stuff, and it's mainly the comic writing that really works,
• 1:18:34
  you know, as would be seen to be going along.
• 1:18:35
  There's lots of funny lines in here.
• 1:18:37
  The characters are funny and they work well together.
• 1:18:39
  But like, say, it's very, very broad strokes.
• 1:18:42
  Yeah, broad strokes. Yeah, yeah, yeah.
• 1:18:44
  What about USDI? Can't imagine.
• 1:18:45
  Too different. Not really, no.
• 1:18:47
  It's just, it is what it is, isn't it?
• 1:18:50
  It's very much there. It's not trying to say something
• 1:18:53
  it isn't trying to say. It's just trying to say exactly
• 1:18:55
  what it says. And that's fine.
• 1:18:56
  And I think he's dodged a few bullets, notably by casting
• 1:19:00
  Jimmy Lee Curtis, who makes it ultimately believable and
• 1:19:02
  humanizes everything about it. She.
• 1:19:04
  Does, yeah. Otherwise it would have been
• 1:19:06
  very, very difficult and very much on the nose.
• 1:19:08
  What I get from here is from every Cameron script, I think
• 1:19:10
  there's a lot of ideas that have been really well executed.
• 1:19:13
  It's a great use of the genre and it's played straight when
• 1:19:16
  it's needed to. And like Matt says, there's them
• 1:19:18
  comedy beats that really work that you kind of look forward to
• 1:19:21
  their moments. You know, after a really big set
• 1:19:23
  piece, there's always something at the end of it.
• 1:19:25
  Was that only one liner? But it's kind of, I haven't
• 1:19:27
  heard that before. And it doesn't seem like it's
• 1:19:29
  reused. It seems like it's an update to
• 1:19:31
  the Arnold character, the Arnold persona.
• 1:19:34
  And it really works because again, like I've said, it
• 1:19:36
  romanticizes the genre. It romanticizes Arnold
• 1:19:38
  Schwarzenegger as as Arnold Schwarzenegger, really.
• 1:19:42
  But the main problem I've got with the right is the same
• 1:19:44
  problem we've all got with it. Like Matt said, very
• 1:19:46
  misogynistic, very egotistical, very self assured, very ignorant
• 1:19:50
  in that respect, in that you're just going to have to deal with
• 1:19:52
  it on the screen and you're entertained, aren't you?
• 1:19:54
  So buy into it. At the same time, for me it kind
• 1:19:58
  of splits that straight down the middle.
• 1:20:00
  Which means it is very 90s. There's no questions asked about
• 1:20:04
  any anything to do with any of the scenes that you're on.
• 1:20:07
  You're not allowed to question what James Cameron's doing.
• 1:20:09
  He is right, you are wrong, you are the audience, he is God.
• 1:20:12
  Deal with it, accept it. Read from the stone tablet
• 1:20:15
  whether you like it or whether you don't.
• 1:20:16
  So it is written, so shall it be done, no questions asked.
• 1:20:20
  Fuck the plot, It's a 90s James Cameron film.
• 1:20:22
  Fair enough. Yeah, that's its tagline.
• 1:20:25
  Fuck the. Plot No.
• 1:20:27
  Questions asked. Fuck the plot.
• 1:20:29
  That's what. It's exactly what I've got
• 1:20:30
  written down there. And that's, to me, the way I see
• 1:20:33
  True Lies. Yeah, yeah, I feel, I mean,
• 1:20:35
  there's going to be no surprise to say yeah, but I feel as
• 1:20:38
  though it is an outlier in Cameron's career, like you were
• 1:20:40
  seeing at the top there. Martin.
• 1:20:43
  I do feel it's him. It is most grounded and his most
• 1:20:46
  playful. He tackles the mundanity of of
• 1:20:49
  domestic life, which really isn't James Camera.
• 1:20:52
  No. But he balances that really well
• 1:20:54
  with action spectacle. I think a lot of that is because
• 1:20:58
  it's not his source material. So he's got a platform that's
• 1:21:01
  already there to jump from. Yeah.
• 1:21:03
  And I think that Arnold being Arnold, being in the fears he
• 1:21:05
  was in his career really helped bring this to life.
• 1:21:08
  Certainly think that Jamie Lee Curtis has got a massive say in
• 1:21:11
  proceedings as well. And the reason that it does
• 1:21:14
  work, despite a lot of things working against it, you know, it
• 1:21:18
  may be him and his most playful. It may be a wonder to watch the
• 1:21:21
  action sequences and see Arnold at his best.
• 1:21:23
  There's a lot of great lines, some comedy and some of the
• 1:21:26
  beats work for me in the main, like in the writing, but we've
• 1:21:30
  mentioned it, there are quite a few things wrong.
• 1:21:32
  It's just so bloated. It could do with like a 20
• 1:21:35
  minute tune up. Trim 20 minutes off and you're
• 1:21:38
  under a winner I think. Yeah.
• 1:21:40
  I just think of more subtle act two.
• 1:21:42
  Yeah, rewrite us two. Yeah.
• 1:21:44
  And rewrite them both joining together.
• 1:21:46
  There's something in there that could be really interesting.
• 1:21:49
  Take those scenes with Simon out and we're looking to say because
• 1:21:53
  Simon's a great character. Both go from Harry found another
• 1:21:56
  Helen is cheating straight into burst into the Simon's trailer.
• 1:21:59
  Nothing in the film changes. Yeah.
• 1:22:01
  No, nothing. Yeah.
• 1:22:02
  And a real problem with Harry's behavior towards his wife, I
• 1:22:05
  mean, he's been lied, refuse, which is, you know, horrific in
• 1:22:08
  itself. But then when he finds out about
• 1:22:11
  Simon, he psychologically abuses her, puts her in this horrific
• 1:22:14
  situation that she's got to be objectified and as far as she's
• 1:22:16
  concerned, potentially much worse.
• 1:22:19
  Yeah. Why on earth is she still with
• 1:22:21
  him at the end? He's been a spy for 17 years, so
• 1:22:24
  he's been a spy for four years before he Metellen.
• 1:22:27
  So he's knows that he's going to have to lie to work from.
• 1:22:30
  So their whole relationship is based on lies.
• 1:22:32
  Yeah, and she brushes that off. Yeah, she's like, oh, fine, 17
• 1:22:36
  years now, hold on a second. That's fine.
• 1:22:38
  I even know who you are. Outrageous.
• 1:22:42
  It really doesn't sit right with me.
• 1:22:44
  It doesn't sit right with any of us.
• 1:22:45
  On the surface, the film works well, but delve a little deeper
• 1:22:48
  and it just crumbles. It falls apart.
• 1:22:50
  Yeah, it does, yeah. As we mentioned, True Lies is
• 1:22:52
  based on the 1991 French spy comedy La Total.
• 1:22:56
  The French film is more satire and dialogue based.
• 1:22:58
  Obviously it doesn't share the action chops that James can
• 1:23:03
  bring to the table. What does?
• 1:23:05
  In the original film, the end goal for the baddies is to blow
• 1:23:07
  up a football stadium in Paris. But a lot of the beats are the
• 1:23:10
  same. Simon is Helen's perspective,
• 1:23:12
  love interest. He masquerades as a spy but is a
• 1:23:15
  second hand car salesman who lives in a caravan.
• 1:23:17
  The Simon in this film poses as Carlos the Jacqueline.
• 1:23:19
  The final scene where Francois and Helen are now working
• 1:23:23
  together, a secret agent. So it really does follow the
• 1:23:25
  same path. Yeah.
• 1:23:27
  And it came to Cameron's attention from Arnie himself on
• 1:23:30
  his brother-in-law. Robert Shriver showed him the
• 1:23:32
  film and he loved the secret agent side of it and thought it
• 1:23:34
  was a perfect vehicle for James Cameron.
• 1:23:36
  Cameron was attracted to the double life narrative initially,
• 1:23:39
  which ask the question who would James Bond be if he got home and
• 1:23:42
  had an answer to his wife in Shriver was given an executive
• 1:23:46
  users credit as a kind of finder's fee and.
• 1:23:48
  That's a really broad idea, isn't?
• 1:23:50
  It oh, very broad and. Well, it's a very broad.
• 1:23:51
  There's some really broad. Yeah, there's some money for a
• 1:23:54
  really broad idea. Yeah, I know.
• 1:23:56
  It's. Crazy, isn't it?
• 1:23:57
  I wish I was in that situation. Maybe shit I came out with, but
• 1:24:00
  are you nearby now? Somebody, somewhere has got to
• 1:24:03
  be listening, Westie. I know, hopefully, right?
• 1:24:06
  This was his first foray into comedy, believe it or not.
• 1:24:09
  Cameron hired a writing team to a system on the jokes in the
• 1:24:12
  screenplay. He was dissatisfied, however,
• 1:24:14
  with the team's effort and throughout their draft.
• 1:24:16
  He started a new draft from scratch, retaining only a couple
• 1:24:19
  of the gags from the writers, one of which being the You're
• 1:24:22
  Fired line from the end. Yeah, that's all they came up
• 1:24:25
  with. Again, get me in there.
• 1:24:28
  There's a few more I'm sure. In an early draft of the script,
• 1:24:32
  Harry finds out that Dana is playing hooky from school to
• 1:24:35
  play in her boy friends band. There was a scene where Harry
• 1:24:38
  drives Dana back to school and they both sing the song that the
• 1:24:41
  band will rehearse and which is Sunshine That You're Loved by
• 1:24:43
  Cream. A nod to this is when Dana is
• 1:24:46
  listening to the song on a Walkman when Gib comes in the
• 1:24:48
  house. Although that's a cover I think.
• 1:24:50
  Yeah, it is. Yeah.
• 1:24:51
  And Cameron also researched international terrorism with
• 1:24:54
  writer Randall Frakes. They dove deep into the
• 1:24:57
  logistics of smuggling nuclear weapons into the US and was
• 1:25:00
  surprised at how easy it was without chance of detection.
• 1:25:03
  In theory, they did worry that they were making a terrorist
• 1:25:05
  handbook with the film. So I decided to lean into the
• 1:25:08
  comedy Moss that people wouldn't take it seriously.
• 1:25:12
  The Delve Deep. You mean the spread nuclear
• 1:25:15
  warheads on Wikipedia in 90? 4 How big are they?
• 1:25:19
  Yeah. Quite big.
• 1:25:21
  Will it fit into wooden? Crate So a great concept with
• 1:25:29
  some zingers breathing life into an old genre, but certainly with
• 1:25:33
  a lot of problems in the right. Oh yes.
• 1:25:38
  Next, an all collaborator of Cameron's Brad Fiedl, who
• 1:25:41
  returned after his great work on The Terminator and T2.
• 1:25:44
  Yep. Westie Brad Fiedl's music in the
• 1:25:48
  film. What do you think?
• 1:25:49
  Wow. I mean, there's a lot, isn't
• 1:25:50
  there? There's a lot, and he's thrown a
• 1:25:52
  lot at this. How many more instruments can I
• 1:25:54
  put into this ensemble, please? It's really is the audio
• 1:25:58
  equivalent of the visuals for me.
• 1:26:01
  It's so busy and so intricate and so bombastic and so
• 1:26:05
  celebratory of the genre. It's kind of the opposite of
• 1:26:08
  what he does with Terminator and T2.
• 1:26:11
  That very subtle that. Yeah, yeah.
• 1:26:14
  But it's fucking excellent because you hear that and it's
• 1:26:16
  like, it's, it's almost like Jaws in its simplicity.
• 1:26:19
  It's just got that really, you know, that lovely melody, great
• 1:26:22
  instrumentation. This is like this, the True Lies
• 1:26:26
  theme, all right? And it's boom, boom, boom.
• 1:26:32
  But it does elevate the film and it does celebrate all of the
• 1:26:35
  action sequences. So by every big sequence that we
• 1:26:38
  get, we get this huge swell of music behind it, almost like
• 1:26:42
  it's cheerleading the whole sequence.
• 1:26:44
  And it really helps with the edit.
• 1:26:45
  It helps with the pace, it helps with the tone of the film.
• 1:26:49
  You know when you want something good to happen, Like if the
• 1:26:51
  Harrier turns up when Dana's hanging off a crane on the end
• 1:26:53
  sequence, for example, the music's just brilliant.
• 1:26:56
  It's going to be all right, guys, It's fine.
• 1:26:59
  It's like this is the tone that we're doing.
• 1:27:01
  Ultimately. You hear it and there's so much
• 1:27:03
  of it, and it's so powerful and bombastic and it backs up all of
• 1:27:07
  the action sequences that you actually forget about what the
• 1:27:10
  music actually sounds like. Like I forget about the main
• 1:27:13
  theme of True Lies unless I hear it and go where do I know that
• 1:27:16
  from again? And when you hear it again, it's
• 1:27:18
  really familiar, but then it escapes your mind just as
• 1:27:20
  quickly as you heard it. So it's there's nothing really
• 1:27:23
  memorable about it. Because I think there's just so
• 1:27:25
  much involved in this. There's so much thrown at this
• 1:27:29
  that I think Cameron's like, we need to just really elevate the
• 1:27:32
  whole film through the edit and through the visuals, through the
• 1:27:35
  big set pieces. And then all of that ambition
• 1:27:37
  really needs an ambitious score. And that's what Brad Fiedl does
• 1:27:40
  to this. I can see him finishing this
• 1:27:42
  score and just passing out, but it's great.
• 1:27:46
  But it's a lot. Yeah, it is a lot.
• 1:27:49
  But if you're just watching it casually, then I really don't
• 1:27:52
  feel as though it sticks out. I think it's competent work, but
• 1:27:55
  I think it feels a little unremarkable.
• 1:27:57
  If I try to think back now with the music from the film, the
• 1:28:00
  only thing that leaps to mind is that short burst in the opening
• 1:28:02
  credits when the title appears, right?
• 1:28:05
  And that's probably because I've seen the film a few times in a
• 1:28:07
  short space of time for this show.
• 1:28:09
  And because there are no the other doesn't seem to be any
• 1:28:11
  main themes to hang on to. I mean compared like the
• 1:28:14
  Terminator theme, like there's. Nothing like that, yeah.
• 1:28:16
  That doom laid in vision of the future, The clanging of steel.
• 1:28:19
  I can that's playing in my mind now.
• 1:28:21
  I can. I can heal.
• 1:28:23
  There's nothing even remotely comparable to that here.
• 1:28:26
  No. Secondary to the visuals.
• 1:28:28
  It's secondary to the visuals and that's where it gets lost.
• 1:28:30
  But if you do listen now for it, it is like you're saying it's
• 1:28:33
  everywhere, everywhere. It really is.
• 1:28:35
  What did really did pique my interest this time around,
• 1:28:38
  watching it the last few times, is that kind of like Private Eye
• 1:28:42
  woozy sax theme? Yeah.
• 1:28:44
  When Aziz is following Harry before the big chase, the
• 1:28:46
  music's really it was really appealing to me, but I don't
• 1:28:49
  really know if it works or feels a little bit out of place.
• 1:28:52
  It sounds like Roger Rabbit. It does a bit, yeah.
• 1:28:54
  It's just, you know, we're going for like the newer element of
• 1:28:57
  the spy genre. Overall, I think it's good work.
• 1:29:00
  It does what it needs to do, but I can't remember it.
• 1:29:03
  I don't know what it sounds like now.
• 1:29:04
  Yeah. It's just the pace of it I
• 1:29:06
  remember. Yeah.
• 1:29:09
  I mean, bombastic is the first word I have written down for it
• 1:29:12
  as well, but that's what it is. And you do have a bit of
• 1:29:15
  balance. A does have that kind of more
• 1:29:16
  slinky sax music in there as well, but it's probably a bit on
• 1:29:20
  the nose to be honest. But The thing is, you know, I
• 1:29:22
  can't really elaborate on this because as I said, the drop not
• 1:29:25
  hugely familiar with the film. So I'm definitely not going to
• 1:29:28
  be familiar with the soundtrack. And like after watching a few
• 1:29:31
  times, I'm none the wiser, none the more familiar with it
• 1:29:34
  really. I don't think it's there's any
• 1:29:36
  real standout to you like what she says.
• 1:29:38
  It's just a lot, a lot of noise, but it's fine.
• 1:29:42
  Yeah, it is. It's fine.
• 1:29:43
  It does get lost in the mix because it's kind of like a
• 1:29:46
  sensory overload and that's in the background.
• 1:29:48
  Yeah, according to Fiedl, these are the first words you heard
• 1:29:51
  from Cameron about True Lies. Hey, Brad, it's me, it's Arnold,
• 1:29:55
  and it's you. And if you don't let people know
• 1:29:57
  in the 1st 4 bars that this is not a Terminator movie and this
• 1:30:00
  is for fun, we're dead in the water.
• 1:30:02
  It's all on you, Brad. That's.
• 1:30:04
  Great. Brilliant.
• 1:30:06
  Great starting point. Yeah, and Fidel used a 110 piece
• 1:30:10
  orchestra conducted by Shirley Walker and she had previously
• 1:30:14
  worked with Hans Zimmer and Danny Elfman.
• 1:30:15
  Fidel's inspiration of all things was Leonard Bernstein's
• 1:30:18
  music from West Side Story because he wanted to build a
• 1:30:21
  dance like quality into his action cues to maintain the
• 1:30:23
  playful tone. Right.
• 1:30:25
  Yeah, it's playful, certainly. Yeah, the main features like a
• 1:30:28
  five note action motif, while that jazzy 40s finger snap music
• 1:30:33
  is Harry's name when he's at work.
• 1:30:35
  I suppose those are the main ones that stand out.
• 1:30:39
  Fetal got increasingly frustrated with the use of temp
• 1:30:41
  music in the industry, leading him to retreat from movie music
• 1:30:45
  and focus more on musicals in the 21st century.
• 1:30:47
  For True Lies, he insisted on not seeing the film with any
• 1:30:50
  temp music at all, making his compositions completely original
• 1:30:53
  without any unwanted influence. He said Don't play me a piece of
• 1:30:57
  music and tell me you want something like that.
• 1:30:59
  Yeah, he loves the originality. Right.
• 1:31:01
  I would imagine that'd be very frustrating creatively as well.
• 1:31:04
  It's like. Yeah, yeah, because you're being
• 1:31:05
  LED down a certain path. Exactly, Yeah.
• 1:31:08
  So relying on a frequent collaborator, Fiedl does solid
• 1:31:12
  if work that gets kind of lost in the mix, yeah.
• 1:31:15
  Yes, I would imagine so, yeah. Finally, we're looking at the
• 1:31:19
  visuals in True Lies. We'll be talking about the FX in
• 1:31:22
  a moment, but first it's Russell Carpenter's cinematography over
• 1:31:26
  the USD. Yeah, I mean, he's very busy,
• 1:31:28
  isn't he, Russell? He's got a lot to do.
• 1:31:30
  Very busy, man, in this. There's no subtlety.
• 1:31:33
  There's no approach to the cinematography where I go.
• 1:31:36
  My God, this really hits the story home, doesn't it?
• 1:31:41
  This really paints a picture of how we need to feel.
• 1:31:44
  It's not that. It's just, you know, try and get
• 1:31:46
  this on a lens that's wide but doesn't look wide because we
• 1:31:49
  need to see everything that's going on.
• 1:31:52
  Every single thing in the frame is watchable.
• 1:31:54
  Every single thing in the frame for most of it is fucking moving
• 1:31:58
  everything. This is just a film that does
• 1:32:00
  not stop, doesn't stop. It hasn't even the moments where
• 1:32:04
  you know the interrogation, the cameras still moving around like
• 1:32:07
  it's still moving towards those guys.
• 1:32:09
  And I mean Russell Crawford knows for me, he's got that
• 1:32:11
  look. It has that look to it because
• 1:32:13
  he did hard target the year before this yes, and this looks
• 1:32:16
  like hard target. It looks like that kind of
• 1:32:18
  action, and I think he learned a lot from John Woo doing that
• 1:32:21
  film and he comes under this one and it's got that similar piece
• 1:32:24
  to it. It's got that similar action
• 1:32:26
  vibe, which just kind of brings everything that he possibly can
• 1:32:28
  to the table here and doesn't mess it up in my eyes.
• 1:32:32
  I think he absolutely nails it. Even some of the comedy visuals
• 1:32:35
  that happened going through the hotel lobby and you just you're
• 1:32:37
  on the front desk with the bellhop there and then the bike
• 1:32:40
  comes past and he's like, and then the horse comes past
• 1:32:42
  without the camera moving and just them come right.
• 1:32:45
  We've got time for that comedy beat there.
• 1:32:46
  The whole scene in the bathroom that said to takes five days to
• 1:32:49
  film. That's in some of the shots in
• 1:32:51
  there are just setting up the whole Mission Impossible
• 1:32:53
  franchise. It's just that they've done it
• 1:32:55
  since and it's basically shot for shot.
• 1:32:57
  Just idea for idea for him to keep up with Cameron as well at
• 1:33:00
  this pace is she was a real professional, somebody who's a
• 1:33:03
  real master of the craft who doesn't get talked about enough.
• 1:33:06
  And I mean, for the amount of setups that is that happens
• 1:33:08
  here, the amount of mix and live action with CGI work, there's a
• 1:33:11
  lot of blue screen, a lot of green screen.
• 1:33:14
  It's all seamless and it all really stands up for me.
• 1:33:16
  I think this is a really elegantly short film.
• 1:33:19
  It's just too fast to pay any kind of attention to when it's
• 1:33:23
  too fast to really appreciate how good it is.
• 1:33:25
  I think Cameron just needed a great DP without a reputation
• 1:33:29
  really, who would be grateful for the opportunity he's been
• 1:33:31
  given. And I think that allows Cameron
• 1:33:34
  for one of a better phrase to kind of get him to do whatever
• 1:33:37
  he asked. Yeah, because.
• 1:33:38
  He's had issues with DPS under the films, yeah, And he's got a
• 1:33:41
  such a strong sense of what he wants.
• 1:33:44
  Yeah, and he needs a DP to capture that vision.
• 1:33:47
  And I think he's absolutely done what he wants.
• 1:33:48
  Clarity. Everything's in the frame, you
• 1:33:50
  know where everything is. And considering the edits, you
• 1:33:53
  don't get lost off at all. I think he has done a really
• 1:33:55
  bang up job, but he's not flashy with it.
• 1:33:58
  No, definitely. Not Russell Carpenter may well
• 1:34:00
  be an unfamiliar name to most, a fact that he recognized himself
• 1:34:03
  before he got the True Lies gig. He said that his career involved
• 1:34:06
  quotes 20 years of swimming upstream in very obscure rivers
• 1:34:10
  before Cameron chose to shoot the film with him.
• 1:34:13
  His previous were included critters to the main course.
• 1:34:17
  That's not even the Leo DiCaprio one no.
• 1:34:19
  And pet cemetery two he also shot.
• 1:34:21
  Although like you said, Westie did shoot John, who's hard
• 1:34:24
  target in 93. Yeah.
• 1:34:26
  And Cameron initially hired Carpenter to film a much more
• 1:34:29
  low key film entitled A Crowded Room in Adaptation of the Minds
• 1:34:33
  of Billy Milligan, a true crime novel about the first man
• 1:34:36
  acquitted of murder on the grounds of multiple personality
• 1:34:39
  disorder. And complications over rights
• 1:34:41
  halted production. But Cameron like what Carter
• 1:34:44
  brought to the table for that film.
• 1:34:45
  He said that he had something on the ball creatively.
• 1:34:48
  He had a clear vision and was eager to try new things.
• 1:34:51
  This put him first in line to shoot True Lies.
• 1:34:54
  Yeah, Carpenter often felt out of his depth, in no small part
• 1:34:58
  to A and Jim Beam of drizzle tricks.
• 1:35:00
  When viewing the dailies, Carpenter thought the footage
• 1:35:03
  looked a little dark, and he looked over a camera and who was
• 1:35:06
  furiously shaking his head. He said I've got the highest
• 1:35:09
  paid actor in this or any other parallel universe.
• 1:35:12
  I can't see his eyes. If you really.
• 1:35:16
  Cameron mocked him by asking him where he learned to read a light
• 1:35:19
  meter later the first day that he found this hilarious, saying
• 1:35:23
  that JC did this kind of thing to everyone.
• 1:35:25
  Of course, stories are legendary.
• 1:35:28
  Saw Carpenter then contacted Michael Solomon, the DP on the
• 1:35:31
  Abyss, for some reassurance, and Solomon asked, did Jim already
• 1:35:35
  ask you where you learned to read a light meter?
• 1:35:39
  Brilliant. What a classic.
• 1:35:41
  To write a passage. The lighting on the film was
• 1:35:44
  very interesting. Cameron conceived of a look he
• 1:35:46
  called Lucid Night. This luminous moonlight look
• 1:35:49
  used HMI lights to primary light source level without any
• 1:35:52
  filters. Then the blue tones were
• 1:35:54
  adjusted in post production. So that whole sequence, it was
• 1:35:57
  said in the snow, that's big, big, big Hmis in the background.
• 1:36:00
  Brilliant, right? And to maintain consistency,
• 1:36:02
  location scouts scoured LA in Washington, DC for streets which
• 1:36:06
  use mercury vapor lamps. And if the one had to use the
• 1:36:09
  location without this type of lighting, Cameron would arrange
• 1:36:12
  for city officials to replace the lights instead.
• 1:36:14
  Can you imagine having the cloud for that?
• 1:36:18
  Change them. Yeah, he's done.
• 1:36:19
  Lamp posts in the street. Carpenter went on to work with
• 1:36:25
  Cameron on future projects. He won an Oscar for his work on
• 1:36:28
  Titanic and shown the back-to-back Avatar sequels as
• 1:36:30
  well. Yeah, so another household name
• 1:36:33
  in the world of cinematographers.
• 1:36:34
  But Russell Carpenter does more than a competent job working
• 1:36:36
  with a more than difficult director.
• 1:36:38
  Definitely. As well as founded Light Storm
• 1:36:43
  Entertainment in the early 90s, Cameron also founded Digital
• 1:36:46
  Domain with Stan Winston, the visual effects company who were
• 1:36:49
  responsible for the VFX on True Lies.
• 1:36:52
  Matt, over to you. What do you think of the effects
• 1:36:54
  work on the film? I think the best thing I can say
• 1:36:56
  about it is I don't really notice the RFX or that are there
• 1:36:59
  for the most part. Like say that that opener with
• 1:37:02
  the with the mountains composited wouldn't know that
• 1:37:04
  unless you actually told me they know.
• 1:37:06
  One of Cameron's great strengths is always that ability to blend
• 1:37:09
  in practical effects with visual effects to the point where you
• 1:37:12
  can't tell the difference between the two, and that's the
• 1:37:14
  case here. I know this model is used.
• 1:37:16
  I know this miniature is used. I would have to pause the film
• 1:37:19
  at regular intervals to tell you which is which in which is.
• 1:37:22
  That's the scale model. That's an actual thing that he
• 1:37:25
  used, that's composited in afterwards.
• 1:37:28
  And that's what gives this film that very typical Cameron
• 1:37:30
  physicality. And that's what I've always been
• 1:37:32
  a big fan of. Yeah, it's classic.
• 1:37:34
  It's the speed of the cuts, isn't it?
• 1:37:36
  He's in real life and it's just you don't have time to try and
• 1:37:39
  figure it out, no. I think what's very smart about
• 1:37:41
  the effects is that although they're gargantuan, the film
• 1:37:43
  still feels grounded. It's all fairly plausible,
• 1:37:47
  really, if you suspend a certain amount of disbelief, yeah.
• 1:37:51
  So yeah, I guess so, yeah. And the reason that the effects
• 1:37:54
  hit hard for me is that it's a mixture of practical and digital
• 1:37:57
  effects. Like you were saying, Matt, it
• 1:37:59
  all looks real. There's no shot in this film
• 1:38:00
  that's aged for me. I think it's really impressive
• 1:38:03
  stuff. Yeah.
• 1:38:04
  Digital Domain was a three-way adventure between Cameron
• 1:38:07
  Winston and Scott Ross, formerly the senior VP of Lucasfilm.
• 1:38:11
  He grew frustrated the lack of movies being made at that
• 1:38:14
  company and jumped ship. Winston said his involvement
• 1:38:17
  with Digital Domain was motivated by ILM.
• 1:38:20
  He said that he didn't want to be left behind and so he set up
• 1:38:22
  the company to rival them. Cameron's obviously always been
• 1:38:25
  on the cutting edge of the FX and needed his own company to
• 1:38:28
  match his career division as well.
• 1:38:30
  We've mentioned some of the effects already and there's load
• 1:38:32
  more to combo. Real Harriet jets were used at
• 1:38:35
  the end of the film costing a total of $100,000 and this was a
• 1:38:39
  combined with footage of a full size fiberglass replica on top
• 1:38:43
  of a gimbal on top of a 22 story Miami building.
• 1:38:50
  Really dangerous. Unnecessary, dangerous.
• 1:38:55
  Real Harry is unbelievable. And Cameron initially rejected
• 1:38:59
  that as an option. But VFX supervisor John Bruno
• 1:39:03
  insisted that by filming against a real city background with real
• 1:39:06
  lightning woodwork. And he also said that Cameron
• 1:39:08
  was the only filmmaker with the hornies to pull it off.
• 1:39:11
  Of course, that'll get round, Cameron.
• 1:39:13
  Oh, go on then. And Arnold spent hours strapped
• 1:39:17
  in the fiberglass Harry at 120 feet from the the ground.
• 1:39:20
  He said the hardest thing was sitting in a cockpit for hours
• 1:39:23
  and days and weeks, and it was 100° inside.
• 1:39:26
  That was torturous 100°. 120 feet from the ground as well.
• 1:39:30
  Terrifying. Like working on a massive crane
• 1:39:34
  for getting your sandwiches. The Harrier replica was later
• 1:39:40
  used in The Avengers during the battle between Hulk and Thor.
• 1:39:43
  Hulk rips off one of its wings. Right, OK, It's now housed in
• 1:39:46
  the Volo Auto Museum in Illinois, being patched up.
• 1:39:51
  And there wasn't any space for additional ID, not cameras.
• 1:39:54
  And Carpenter said I was very often working from just below
• 1:39:57
  the level of the cameras and shooting fill light open to the
• 1:40:00
  actor's faces whenever I could. It's a miracle that he caught
• 1:40:03
  the footage that he did. Yeah, it really is. 1,000,000
• 1:40:06
  have spent on the FX and I think you can tell that the blowing up
• 1:40:09
  the seven mile bridge which we're going to get to next.
• 1:40:14
  Wow, Digital Dorman were Oscar nominated?
• 1:40:19
  For their efforts, but. They lost out to.
• 1:40:21
  Can you? Think 95 Oscars.
• 1:40:24
  Yeah, the films in 94 Forrest Gump.
• 1:40:27
  Or in one look. At that?
• 1:40:29
  Really. Yeah.
• 1:40:32
  So a mixed bag of talents in the crew the.
• 1:40:34
  Screenplay has some question marks over it.
• 1:40:36
  A lot of question marks music hangs around in the background
• 1:40:39
  and the cinematography serves the narrative beautifully,
• 1:40:41
  leaving a lot of room for the visual effects to take center
• 1:40:43
  stage and give True Lies its distinct identity.
• 1:40:46
  Indeed, the end. With Harry and Helen kidnapped,
• 1:40:55
  they're taken to an unknown island layer where the bad guys.
• 1:40:58
  Operate, obviously, but they don't know who they're dealing
• 1:41:01
  with, do they, Wesley? They really don't.
• 1:41:04
  And we don't know who we're dealing with at this point
• 1:41:06
  because holy shit, the camera stopped moving for a. 2nd, it's
• 1:41:09
  kind of the only time it is. It's lovely, this.
• 1:41:11
  But this truth serum bit is really great.
• 1:41:14
  We've got, you know, they've been locked up.
• 1:41:16
  Helen's now got the opportunity to to get her own back after
• 1:41:19
  that horrible interrogation. But it's nowhere near hard
• 1:41:21
  enough. She doesn't.
• 1:41:22
  She doesn't push him hard as much.
• 1:41:23
  She doesn't give him a hard time whatsoever.
• 1:41:25
  Pure understanding from Helen. That's fine.
• 1:41:28
  That's all right. Yeah.
• 1:41:29
  OK. So are we going to die?
• 1:41:30
  Yep. That's.
• 1:41:32
  Good. It's good.
• 1:41:33
  The comic BT Evans watching are a fantastic good issue.
• 1:41:36
  This in their. Head they're going to torture.
• 1:41:38
  Us and just like, right, that's enough.
• 1:41:40
  But again, we've mentioned before it's like 17 years lying
• 1:41:43
  in a marriage and it's just played for laughs, you know, and
• 1:41:46
  I think there's some really great setups here that have been
• 1:41:48
  missed. You know, like when Aziz gets
• 1:41:50
  his wallet and pulls out and then you see that picture of DNA
• 1:41:52
  when he slides the picture, you forget about that completely
• 1:41:55
  until the end. I like that that's a that's a
• 1:41:58
  really subtle setup. I love that because the film
• 1:42:00
  needs more things. Like that it just.
• 1:42:02
  Seems like everything else is just blown out of proportion.
• 1:42:04
  But it comes back and it's a really good action sequence.
• 1:42:07
  And I think there's always quite a bit of commando, especially
• 1:42:09
  the way he comes out of this shed very much this kind of set
• 1:42:12
  up there is. And the bad guys are everywhere.
• 1:42:13
  And no matter what, Arnold, doesn't matter what film he's
• 1:42:16
  in, if he ends up in some kind of compound, there's always a
• 1:42:18
  fucked car that he hides behind for some reason.
• 1:42:20
  Bonnet of. But I just love the way that
• 1:42:23
  he's honest here. And then he just says how he's
• 1:42:24
  going to kill the guy, use his human shield, and I'm going to
• 1:42:28
  stab him with that. Then I'm going to break it.
• 1:42:29
  I was thinking about breaking your neck and it's like really
• 1:42:32
  good. It's like, you know, my cuffs, I
• 1:42:33
  picked them. Brilliant.
• 1:42:37
  Just then he uses you and Shield.
• 1:42:38
  Then he kills the. Guy.
• 1:42:39
  Then he snaps. His neck all really quick.
• 1:42:41
  That to me kind of sums the whole film up and say that's the
• 1:42:44
  pitch Cameron does. So he comes out, he uses that
• 1:42:46
  hook which goes straight into the guy, which I think is a nice
• 1:42:48
  nod to the Axon Commando when he swings it at the guy.
• 1:42:51
  Yeah. And then they come out of the
• 1:42:53
  compound, the high by the car, like was said, there's a little
• 1:42:55
  bit of back and forth, shoots a few guys and then they're stuck
• 1:42:59
  And in this just this fight sequence, right?
• 1:43:01
  There's one guard that he takes the gun off him and snaps.
• 1:43:04
  He breaks his neck with the gun strap because he's trying not to
• 1:43:07
  make any noise. One pulls a knife out.
• 1:43:08
  He kicks one of them away. He then pulls a knife out and
• 1:43:10
  stabs each other with their their respective knives.
• 1:43:14
  One stabs 11 stabs the other. They then slumped together.
• 1:43:17
  Then he stamps on the board, kicks up the AK47, spins round,
• 1:43:22
  blows three of them away. And then after that moment, you
• 1:43:25
  think, this is amazing? Then Helen comes around the
• 1:43:28
  corner as and she's held hostage.
• 1:43:30
  He drops the gun, spins around, blows him away straight away.
• 1:43:33
  And he's like, are you OK? Like that, That sequence there,
• 1:43:36
  that's the end of fucking John Wick.
• 1:43:38
  Yeah, you can tell he's gone into 5th gear.
• 1:43:41
  Everything's wide open. And this is just.
• 1:43:43
  Going to explode. And boy, does it go from here.
• 1:43:46
  It certainly does. Like you say in Westie, it's
• 1:43:49
  very reminiscent of the compound infiltration.
• 1:43:51
  Scene from Predator or Commando or any other action film.
• 1:43:57
  Yeah, yeah. I think Cameron is kind of
• 1:43:59
  playing with that notion by doing a few.
• 1:44:01
  Things differently firstly. Jamie Lee Curtis's permanent
• 1:44:04
  stunned reactions are very funny.
• 1:44:07
  Yeah, Harry just taken people out left, right and centre.
• 1:44:10
  Ruthless efficiency. And she's like, Oh my God, she
• 1:44:13
  says I'm marry Rambo, which is a kind of a double wink to the
• 1:44:16
  camera because James Cameron Cole wrote first Blood Part 2
• 1:44:20
  Part 2. It didn't hear.
• 1:44:21
  And it also taps into the cinematic action hero rivalry
• 1:44:24
  that Arnold and. Sliced alone had in the 80s.
• 1:44:26
  And 90s, which is nice. Yeah, and it's Arnold doing what
• 1:44:29
  he does best, killing hordes of faceless bad guys in inventive
• 1:44:33
  ways. I think the gunfight can often
• 1:44:36
  go into generic action mode, but the twin Uzi play and that makes
• 1:44:40
  you a flamethrower. Keep things fresh, Yeah.
• 1:44:43
  The scene also tries to maintain the tongue in cheek tone of the
• 1:44:46
  film so far by having Helen drop that Uzi and take out every
• 1:44:50
  surrounding bad guy. Yeah, that's hilarious.
• 1:44:53
  Yeah. Her reaction is great when she's
• 1:44:55
  like, well, yeah. It's good, but it comes back
• 1:44:58
  and. You kind of think, well, surely
• 1:44:59
  some bullets must be heading her way.
• 1:45:00
  Yes, exactly Hides. And then it shows.
• 1:45:02
  You that side of it, like, look, guys, this is real life.
• 1:45:04
  Yeah, yeah. It's possibly a little bit too
• 1:45:06
  joggy for me. That of course it is, yeah.
• 1:45:10
  It's a bit hot shots. It is a bit hot shots, yeah.
• 1:45:13
  But it is kind of like the last. Of the laughs that we'll see.
• 1:45:16
  Really. Until the.
• 1:45:17
  Final scene with Simon. Because it kind of gets a little
• 1:45:19
  bit serious from now on. There's a little bit of kind of
• 1:45:22
  tongue in cheekness with the Harrier jet and all of that kind
• 1:45:25
  of stuff. But but it's very serious from
• 1:45:27
  now. Yeah, Yeah, as you say, it gets
• 1:45:29
  serious. The Florida Keys rescue and I
• 1:45:32
  think. This is just the.
• 1:45:33
  James Cameron we've been expecting all along.
• 1:45:36
  The actions been really good so far, but this is great.
• 1:45:39
  I mean, he's made a way forward, but when it arrives, it's worth
• 1:45:42
  waiting for. The scale of it, the pace of it,
• 1:45:45
  Cameron's ability to have massive moving parts of the
• 1:45:48
  narrative, and he's just got complete control over all of it.
• 1:45:52
  It's very reminiscent to me of the police helicopter chasing
• 1:45:55
  the truck in T2 when he's got a ducking under bridges just
• 1:45:58
  because he can. I mean, he moves a good
• 1:46:00
  helicopter pursuit and he puts us right in there with it.
• 1:46:03
  I think the setting of the Seven Mile Bridge is an absolute gift
• 1:46:07
  because that is such a cinematic setting.
• 1:46:10
  It looks incredible. It gives you such a wide scope
• 1:46:13
  to fill the screen with so much stuff going on, explosions and
• 1:46:16
  fights and helicopter swooping down, It's all incredible.
• 1:46:19
  I mean, Helen and Juno scrapping in the limo, Any fight like that
• 1:46:23
  between female cows, it will just remind me of the Girl
• 1:46:26
  Guide, some airplane, Just that's where my head goes every
• 1:46:28
  single time. Yeah.
• 1:46:30
  Is it funny when the terrorist blows the other terrorists
• 1:46:33
  through the windscreen of the truck when he uses the rocket
• 1:46:35
  launcher? It is.
• 1:46:36
  But the whole thing is it's it's a little bit.
• 1:46:39
  Ha, ha. Look at the stupid foreigners.
• 1:46:40
  They don't use their weapons properly.
• 1:46:42
  Not like the Americans. Yeah.
• 1:46:44
  They didn't read the instructions because he's seen.
• 1:46:48
  For me it's. Very.
• 1:46:49
  Team. America.
• 1:46:50
  Fuck yeah, this sequence. Jets and fucking rockets and
• 1:46:54
  fuck you terrorists and America. And I.
• 1:47:05
  Don't know if there's any image that best.
• 1:47:07
  Sums up James Cameron supports to what is.
• 1:47:09
  A romantic comedy for quite a lot of it than Harry and Ellen
• 1:47:13
  having to celebrate we smooch while a nuclear bomb goes off in
• 1:47:17
  the background. Like that's James Cameron going.
• 1:47:20
  I made this film, you know. And then how are?
• 1:47:23
  Your jets in this scene did their first take, flying 500
• 1:47:26
  knots past Harry's helicopter at a half a mile safe distance.
• 1:47:30
  Cameron obviously wasn't satisfied with the results and
• 1:47:33
  insisted on a further 2 takes. Each one could get them closer
• 1:47:36
  to the chopper. The last stick is the one we see
• 1:47:38
  in the film which got so close it actually violated official
• 1:47:42
  safety regulations. Wow, of course it did.
• 1:47:45
  It's amazing when Gib points down is that there they are and
• 1:47:47
  they come past. It's it's.
• 1:47:49
  Unreal. It looks great and that's
• 1:47:51
  obviously for real. That's not an effect.
• 1:47:53
  Very. Dangerous, but an amazing an
• 1:47:55
  amazing shot. Yeah, it's too.
• 1:47:57
  It's unreal. Yeah.
• 1:47:58
  So the setting for this huge action set piece, as Matt said,
• 1:48:01
  was the. Seven Mile Bridge in Florida,
• 1:48:03
  which connects the Keys to the mainland.
• 1:48:05
  It was shot very carefully, with footage of the actual location
• 1:48:09
  and a hugely scaled up miniature version of it seamlessly edited
• 1:48:12
  together, and the miniature itself was made from plaster and
• 1:48:15
  shipped in individual pieces to 1. .5 miles from the actual
• 1:48:19
  bridge site. 100 meters long and meter and a half wide and three
• 1:48:23
  meters tall. It had to be planned down to the
• 1:48:25
  most minute of detail to ensure that all the pyrotechnics and
• 1:48:28
  explosives were placed and timed in the right order and that
• 1:48:31
  there was sufficient coverage of the explosion.
• 1:48:33
  Yeah, naturally. I mean, we said earlier 2 to
• 1:48:36
  3,000,000 that this cost. There was only one shot at this
• 1:48:40
  because the miniature was going to be blown to smithereens.
• 1:48:42
  Yeah, yeah, mechanical effects engineer Leslie Ecker said.
• 1:48:46
  If you load too much pyro into that.
• 1:48:48
  Plaster. You've got a model IN-1 frame,
• 1:48:50
  and the next frame you've got a puff of dust, and the next frame
• 1:48:53
  after that it's gone. So it has to be blown up in just
• 1:48:56
  the right way to see particles. And things falling.
• 1:48:58
  And splashing into the water, not just via Horizon.
• 1:49:01
  So the coverage must have been huge to get all of that, because
• 1:49:05
  it's really impressive. It's really impressive for the
• 1:49:08
  incredible moment where Harry dangles from the helicopter and
• 1:49:11
  grabs Helen from the limo. Stood woman Donna.
• 1:49:13
  Keegan stood in for Jamie Lee in the wide shots.
• 1:49:15
  Yeah. I mean, it just looks
• 1:49:17
  incredible, particularly with the limo going over.
• 1:49:21
  Yeah, that overhead shot is unbelievable.
• 1:49:24
  Yeah, and JLC gushed with. Prayers at Keegan's bravery and
• 1:49:28
  commitment, but Curtis did play a big.
• 1:49:29
  Part herself. The cut of the close up of Helen
• 1:49:32
  required Jamie Lee Curtis to be attached to a helicopter by
• 1:49:35
  wires and flown. Through the air for 20 minutes
• 1:49:37
  over the water at the Seven Mile Bridge.
• 1:49:40
  Joel Cramer doubled for Arnold in the scene, and Cameron was in
• 1:49:43
  the passenger seat with a camera.
• 1:49:45
  Yeah, Cream is a stuntman. More on him later, but it looks
• 1:49:49
  absolutely incredible. It's seamless when it comes to
• 1:49:51
  that close up. You just think, right,
• 1:49:52
  Everything I've seen is true up to that point.
• 1:49:54
  Exactly that is real. Footage.
• 1:49:56
  It totally makes it and it was all very safe, but someone had
• 1:49:59
  to have. Wire cutters in the chopper.
• 1:50:00
  Just in case. They got into trouble.
• 1:50:02
  In GLC had to be cut loose and the wreckage from the explosion
• 1:50:06
  was composited into the scene In post production.
• 1:50:08
  That is seamless. That footage underneath Jamie
• 1:50:11
  Lee, it is seamless. It is.
• 1:50:13
  It's incredible. Yeah, it's fantastic.
• 1:50:16
  Cameron had this scene in mind for one of his movies.
• 1:50:18
  For a long time, although he originally.
• 1:50:20
  Conceived it as a. Car plummeting into the Grand
• 1:50:22
  Canyon. What's the biggest hole in the
• 1:50:27
  world? Get a car in it from the moon
• 1:50:35
  to. Film the moments where the
• 1:50:36
  hurrier jet. Lands and takes off the seven
• 1:50:38
  mile bridge could only. Be shut down for. 20 minutes at
• 1:50:40
  a time to pacify angry drivers. Women were sent out with pepsis
• 1:50:44
  and bumper stickers that read I was stopped on the Seven Mile
• 1:50:47
  Bridge by Omega Sector. Brilliant.
• 1:50:50
  Yeah, it's some beautiful women out there that will pacify.
• 1:50:54
  The drivers, yeah, unbelievable. So with Harry haven't saved
• 1:50:58
  Helen. They're all playing happy
• 1:50:59
  families again, which is pretty unbelievable considering his
• 1:51:03
  former actions. Yes, exactly.
• 1:51:05
  And was still not finished. Happy families.
• 1:51:09
  Require the safety of the kids and Dana.
• 1:51:11
  Is in deep trouble. Harry Commandee is the.
• 1:51:14
  Harrier jet and goes to a rescue.
• 1:51:18
  Why wouldn't you? Yeah, it's been 10.
• 1:51:22
  Years since I've got behind the wheel on.
• 1:51:23
  One of these things. The wheel.
• 1:51:27
  That's what Gabe says, which. Doesn't fill me.
• 1:51:31
  With confidence at all. No, but Dana makes a run.
• 1:51:34
  For it, doesn't she, Westy? She really does.
• 1:51:36
  And this is the moment I said. You know that Malik had some
• 1:51:39
  really good acting moments. In this and there's that, it's
• 1:51:42
  not amazing, but it's just good enough because it is the tone of
• 1:51:45
  the film and he is the main, you know, antagonist and he's the
• 1:51:48
  terrorist and he's the main bad guy.
• 1:51:50
  But when he does that double take, you know this key, what
• 1:51:53
  key this can then he just he does that hilarious double take
• 1:51:57
  and it's not there and. Faisal shown his chops as.
• 1:51:59
  Well, he's given chase, and he's got the gun in the camera and
• 1:52:03
  he's bang, bang, bang, straight down.
• 1:52:05
  I hate the fact that he's surprised by how good he is.
• 1:52:07
  I would rather he was a bit more cocky and just like, you know,
• 1:52:09
  I'm not just a nerd. That would have been excellent.
• 1:52:11
  But again, it's great to see his chops in there to show that
• 1:52:14
  everybody's competent. There's nobody.
• 1:52:16
  There's no man in this film who's not capable of being
• 1:52:18
  great. Thank you, James Cameron.
• 1:52:20
  Well done, James. Yeah, exactly.
• 1:52:22
  Yeah. And then she's like on the roof.
• 1:52:25
  There's four of them there. Just shooting at her.
• 1:52:28
  Then she decides to climb up the scaffold, and then she decides
• 1:52:31
  to climb up the crane. Not, that's not where I would
• 1:52:34
  have gone if I'm completely honest with you, but it's
• 1:52:36
  absolutely sound If your dad's coming in a hurry, that's that's
• 1:52:39
  a really good place to be. Not, not that she would know
• 1:52:42
  that, but if he is coming in a Harrier, that's kind of where.
• 1:52:45
  You want to be and it is quite. Lucky that she's up there.
• 1:52:46
  I mean, we're talking about fuck the plot, but this is exactly
• 1:52:49
  what we're talking about. And Harry kind of goes back and
• 1:52:52
  where is she? She's on the roof.
• 1:52:53
  Well, that's good because if she was on the ground, I would be
• 1:52:55
  pretty fucked. I'm nowhere to land this thing.
• 1:52:57
  I'm in a Harrier jet. I'm in a Harrier jump jet.
• 1:53:00
  And police say she's on. Not only is she on the roof.
• 1:53:02
  She's on a crane, which makes it a bit.
• 1:53:04
  Easier for you. And then he says, give us that
• 1:53:06
  address again. What's she going to put it in a
• 1:53:08
  SAT NAV? How do you go?
• 1:53:12
  He's just flying. Give me the address over there.
• 1:53:14
  Give me. Give me the.
• 1:53:14
  Address What post code is it? Which?
• 1:53:17
  Block is it. He's just.
• 1:53:18
  Like all the buildings look the. Same.
• 1:53:19
  And he just turns up. And when he turns up, what a joy
• 1:53:22
  this is. I mean, they haven't heard him.
• 1:53:24
  They haven't heard of Harry. A jump jet.
• 1:53:25
  No, no, I know. We hear, you know, planes flying
• 1:53:29
  over here and it just comes. Up and he just.
• 1:53:32
  Sees the whole floor of the of the building, everything is
• 1:53:35
  expendable, everything Oh, we'll just buy it again.
• 1:53:37
  And now we daughter's somewhere in this building.
• 1:53:40
  I've heard she's on the roof. So I'm just going to destroy
• 1:53:41
  this whole level of it really level the whole building.
• 1:53:44
  And he as he comes up, nobody hears anything.
• 1:53:47
  And the guy's got the binoculars and then he just looks through
• 1:53:49
  and then like moves the focus that focus pole and then focuses
• 1:53:53
  under the player outside the window.
• 1:53:54
  And then he moves the binoculars to focus and it's real.
• 1:53:57
  Tight. On Arnold's face and destroys
• 1:53:59
  every. I mean the guns on that thing,
• 1:54:02
  they would have been mincemeat. It's like Ramble, you know when
• 1:54:05
  that gun goes off and people are just expose horrible.
• 1:54:09
  Yeah, Ramble 4 Yeah, Ramble 4 that that's exactly what would
• 1:54:11
  have happened. They would have just been.
• 1:54:12
  Obliterated. But no no, they just do
• 1:54:14
  backflips and. Stuff.
• 1:54:15
  It's hilarious. No problem.
• 1:54:18
  Take it out of his pay, whatever.
• 1:54:19
  They don't probably don't need to kill them.
• 1:54:21
  They're not. They've got no threat
• 1:54:23
  whatsoever. Just wipe them out.
• 1:54:24
  So that's that done. And then he goes even higher to
• 1:54:26
  find Dana, which, again, very handy.
• 1:54:28
  Very handy stuff. Yeah, but it's an incredible
• 1:54:31
  chase. It's jaw.
• 1:54:32
  Dropping. It's panic inducing.
• 1:54:33
  On the on that crane. Yeah, it's great.
• 1:54:36
  And that's that Harrier jet, the fiberglass Harrier jet on a
• 1:54:39
  gimbal on top of a 22 Storey building.
• 1:54:42
  It's all green screen. It all looks incredible.
• 1:54:45
  It looks amazing. It still looks amazing.
• 1:54:48
  And as we're at the moment of peril.
• 1:54:50
  For Dana, Dana, Dana. We've got our second Peter in
• 1:54:56
  question. This one comes from Scott Noack.
• 1:54:58
  Hi, Scott. Hi, Scott.
• 1:55:00
  Scott Scott says while the movie is largely focused on Arnie,
• 1:55:03
  Jamie, Tom and. Bill, I'd like to focus.
• 1:55:05
  On the latest scene, as Eliza Dushku's DNA is trapped by Aziz
• 1:55:09
  with fewer and fewer chances of escape, yes, of course Arnie
• 1:55:12
  would save the day. But as I'm a father of a
• 1:55:14
  daughter, I was curling up my seat because I was mortified
• 1:55:17
  that Arnie's daughter was going to die.
• 1:55:19
  Her screams at the end of that girder will curdle in my blood.
• 1:55:22
  Are there any other child in Jeopardy performances that could
• 1:55:25
  top this? I'm sure there are lots.
• 1:55:28
  Thank you very much for the question.
• 1:55:29
  Great. 1 Scott. Yes, good question.
• 1:55:31
  Yeah, I think all of The Exorcist is really grueling on
• 1:55:35
  young Reagan. And Linda Blair is incredible.
• 1:55:37
  In that role, yeah, that works, yeah.
• 1:55:39
  But it's that scene at the hospital where she's gone
• 1:55:41
  through all those invasive. Yeah, Constable.
• 1:55:44
  Tests all administered by medical.
• 1:55:48
  Professionals in those disgusting.
• 1:55:49
  Brown Surgical. Gloves as well.
• 1:55:51
  Yeah, it makes it worse because that's realistic, isn't it?
• 1:55:55
  Yeah, in that kind of situation. It's disgusting.
• 1:55:57
  So like defenceless, Yeah, defenceless.
• 1:56:00
  It's that blood spurs coming out of her neck.
• 1:56:03
  Yeah, yeah. Newton Aliens.
• 1:56:05
  I think it's an obvious 1. Curry hen.
• 1:56:07
  Curry Hen. Yeah.
• 1:56:08
  Brilliant. You can really feel that mother
• 1:56:11
  daughter bond between her and Ripley and.
• 1:56:12
  That scene where she's trapped. Hicks and Ripley are trying to
• 1:56:15
  get at her, and she's all alone. She's stroking the hair of a
• 1:56:18
  doll. Yeah.
• 1:56:19
  For comforting. The wolf comes up behind it.
• 1:56:23
  Yeah. Incredible.
• 1:56:24
  Filmmaking. Yeah, it really is.
• 1:56:26
  And I think the four lead characters in standby.
• 1:56:28
  Me they put themselves in. Harm's way by going on this.
• 1:56:31
  Odyssey of self discovery Yeah I'm always concerned for them in
• 1:56:35
  the scenes with Ace Kiefer Sutherland character yes yeah
• 1:56:39
  yeah yeah and for them overall like how will they all turn out
• 1:56:42
  individually considering their. Own personal.
• 1:56:44
  Demons and you get that scene at the end.
• 1:56:47
  I think that's a testament of the right and just four really
• 1:56:49
  good child performances. Yeah, yeah, definitely those
• 1:56:52
  ones for me. What about you, Westie?
• 1:56:54
  I've got a few, obviously that's we're.
• 1:56:56
  Going to double on carry hand. Because that's just a stand out
• 1:56:58
  for me. I think she's.
• 1:56:59
  Fantastic and that really, really great Dakota Fanning in
• 1:57:03
  the newer version of War of the worlds.
• 1:57:04
  I thought she was the best thing about it was wonderful.
• 1:57:08
  Haley Joel Osment in The Sixth Sense.
• 1:57:09
  I think he plays that so well. That's one it's.
• 1:57:12
  Just obvious to mention. But.
• 1:57:13
  The way that he's carrying in that film and he really gets
• 1:57:16
  that across. It's an incredible performance
• 1:57:17
  that for me and Ariana Richards as well, as always looked over
• 1:57:21
  in Jurassic Park as I think she's really good.
• 1:57:24
  I think Tim's a little bit annoying, but I think she's
• 1:57:26
  really sells it when she's looking at the Raptor and that
• 1:57:29
  Jelly is wobbling on the spoon. Like you really get that sense
• 1:57:32
  of peril. I think she's really good and
• 1:57:33
  that's all. Yeah, them them three for me,
• 1:57:35
  Grace. And what about you, Matt?
• 1:57:37
  Yeah, maybe not specific performances as such, but.
• 1:57:40
  Child in jeopardy moms, I work really well.
• 1:57:43
  Got to remember a quiet place start so brutally.
• 1:57:47
  No, he said. He's out of there.
• 1:57:48
  That's out of there. Yeah.
• 1:57:50
  And that just makes you think, well, if they're going to kill
• 1:57:53
  off 1. Kid in the 1st 5.
• 1:57:54
  Minutes. I'm genuinely.
• 1:57:55
  Concerned for the rest of the kids in that family because
• 1:57:58
  there's no mercy there I think the kids in the outside elevator
• 1:58:02
  in the towering inferno nearly fall to the death and put
• 1:58:06
  Jennifer Jones's pushes them away when she.
• 1:58:08
  Falls, which is just. Terrifying that moment.
• 1:58:11
  And then last one I want to mention and it's not a film, but
• 1:58:15
  I did think it's worth mentioning just because it's so
• 1:58:17
  popular at the minute. But I would say Stranger Things
• 1:58:20
  has always done it really well of putting those kids in very
• 1:58:23
  perilous situations. I think obviously the standard
• 1:58:26
  would be Max CD Sinks character in Season 4, brilliant running
• 1:58:30
  up the hill sequence when she's in Vechner's world that at the
• 1:58:33
  time I was nearly falling off the couch.
• 1:58:35
  Just generally thought she wasn't going to make it.
• 1:58:37
  That's great. Fantastic.
• 1:58:38
  Yeah, Yeah, yeah, That's great. Well, that's a great question.
• 1:58:41
  Thank you very much, Scott. Yes, thank you, Scott.
• 1:58:44
  And as we're on Eliza Dushku, we've got a.
• 1:58:47
  Problematic story. To tell.
• 1:58:49
  About the production of this film, Yeah.
• 1:58:51
  West, are you going to start us off?
• 1:58:53
  Yeah, there's a dark cloud, like we've said, over the production
• 1:58:55
  of the film that comes from 12 year old Eliza Dusku.
• 1:58:58
  'S experiences and she broke a rib during the Harriet jet
• 1:59:01
  scenes at the end of the film. And what seems that may not have
• 1:59:04
  been an accident. Yeah.
• 1:59:05
  So apparently stunt coordinator Joel Kramer allegedly groomed
• 1:59:09
  her during filming. Dusku then told an adult friend
• 1:59:12
  who confronted Kramer about it, and this allegedly led to the
• 1:59:15
  injury, a threat not to speak to anyone else, and Dusku's later
• 1:59:18
  said her injury wasn't a coincidence.
• 1:59:20
  Yes, yeah, I think I'm going to directly quote her, she said.
• 1:59:25
  To be clear over the course. Of those months rehearsing and
• 1:59:27
  filming True Lies, it was Joel Kramer who was responsible with
• 1:59:30
  my safety on a film that at the time broke new ground for action
• 1:59:33
  films on a daily basis. He rigged wires and harnesses on
• 1:59:36
  my 12 year old body. My life was literally in his
• 1:59:38
  hands. He hung me in the open air from
• 1:59:40
  a tower crane atop an office tower 25 plus stories high.
• 1:59:45
  Whereas he was supposed to be my protector, he was my abuser.
• 1:59:49
  Terrific. Cameron was quick to give his
• 1:59:51
  support to the accusation, saying he would have no mercy
• 1:59:54
  for Kramer if he knew what was going on.
• 1:59:56
  Oh, absolutely, I bet. And after this was revealed by
• 1:59:59
  Dushku in 2018. Others came forward with.
• 2:00:02
  Similar stories. About Kramer, right?
• 2:00:05
  But credit Eliza Dushku for coming out.
• 2:00:08
  Yeah, For speaking. Really difficult.
• 2:00:10
  Thing to do? Absolutely and.
• 2:00:12
  Following on from What? You were talking about Wesley,
• 2:00:14
  that scene when Dana is. Dangling.
• 2:00:16
  From that crane, an incredible shot that is.
• 2:00:19
  It's like the shot, the openings, one of the opening
• 2:00:21
  shots in cliffhanger. It is just before she falls.
• 2:00:25
  Yeah, similar dialogue as well. Let me go kind of vibe.
• 2:00:28
  Yeah, Dana jumps on the jet. Aziz follows it again.
• 2:00:32
  Feels a little bit action generic.
• 2:00:34
  The Jets out of control. Aziz has got a gun.
• 2:00:36
  DNA's in peril, but the effects are incredible.
• 2:00:39
  They haven't aged badly at all. And with Dean hanging on for
• 2:00:42
  dear life, Harry shuffles that jet, which in turn secures Aziz
• 2:00:45
  to a missile. Is this 10% of our?
• 2:00:52
  Camera. And that's the perfect
• 2:00:57
  opportunity. For an Army one liner, you're
• 2:01:00
  fired, Yeah. Amazing.
• 2:01:02
  Classic Arnold. Yeah.
• 2:01:04
  It's a wonderful line, though. Oh, he's great.
• 2:01:06
  And. He's restrained himself.
• 2:01:08
  In the one line. Mistake so far for over 2 hours,
• 2:01:10
  so I suppose. You know, he's earned this one.
• 2:01:13
  Yes, and it's a good one, as is the sight of Aziz flying through
• 2:01:16
  a higher eyes into a helicopter full of terrorists.
• 2:01:19
  Team America. So we get the last scene and.
• 2:01:25
  There's still a lot of questions here.
• 2:01:27
  I mean, it's great to see Simon back.
• 2:01:29
  For one last stroke, what's he doing there?
• 2:01:31
  Has he not learned his lesson by now?
• 2:01:33
  Like, how did he know about this and get there?
• 2:01:34
  It's very strange. But it is a great guy to end the
• 2:01:37
  film with his business pants again.
• 2:01:38
  And let's face it, if anything is excessive in this film, it's
• 2:01:42
  Bill Paxton. The more than better with him in
• 2:01:44
  this. I can't believe.
• 2:01:47
  Well, question. And like what's Simon Simon
• 2:01:49
  doing there? Like we've just sat through.
• 2:01:50
  Two hours of plotless. Nonsense.
• 2:01:53
  No narrative whatsoever. Question why Simon's at this
• 2:01:56
  point? I know, but The thing is he has
• 2:01:58
  to say. About Helen, I mean.
• 2:02:00
  Exactly. Yeah, does she not?
• 2:02:02
  Need actual training now to be like a spy.
• 2:02:04
  I'm pretty. Sure you have.
• 2:02:05
  It's quite. Intensive, I mean.
• 2:02:06
  Nicely, you can't take it see you see this film, but I think
• 2:02:09
  it does just say something about in James Cameron head.
• 2:02:12
  That's how Helen would be happy doing the exact same thing is
• 2:02:15
  how he does it in this film as well.
• 2:02:17
  She can't be happy being the legal secretary and looking
• 2:02:20
  after. Dinner.
• 2:02:21
  Well, why? Why can't he be happy doing
• 2:02:23
  that? She has to be with Harry on this
• 2:02:25
  adventure, and she's saving the world, saving the world with
• 2:02:28
  this confidence and zeal for life and death adventures.
• 2:02:32
  So I think, you know, that kind of plugs into the the bigger
• 2:02:35
  problems we've been talking about.
• 2:02:37
  But, you know, it is a nice way for her to end the film.
• 2:02:39
  Those who, having a tango, finally reconnected this man and
• 2:02:42
  wife because they have been so good together that it kind of
• 2:02:45
  plasters over all the questions you've got about their
• 2:02:47
  relationship. Yeah.
• 2:02:48
  It comes a little full circle as well with the tango.
• 2:02:51
  Yeah, yeah, it's nice, both. Arnold and Jamie Lee Curtis
• 2:02:54
  rehearsed the dance so much that when.
• 2:02:56
  Came to. Filming the scene, Jimmy Lee
• 2:02:58
  Curtis's legs gave way due to exhaustion.
• 2:03:02
  That moment is in the final cut. But Jamie Lee wasn't happy with
• 2:03:05
  Cameron's decision at the time. In retrospect, though, she
• 2:03:07
  realized that the move completely fit the character of
• 2:03:09
  Helen. Yeah, I can understand because
• 2:03:11
  kind of she's taken on this, this era of chic.
• 2:03:14
  She's now a super. Spy.
• 2:03:16
  Yeah, kind of. It harks back to her actual
• 2:03:19
  personality. Yeah, I do think that it fits
• 2:03:20
  the character. It does, yeah.
• 2:03:22
  She's a big, close work. So Helen and Harry, the picture
• 2:03:25
  of work and domestic bliss. Those Omega sector.
• 2:03:28
  Jobs must not require any kind of formal training, nothing
• 2:03:31
  much, rather reception and awards.
• 2:03:38
  We've mentioned the edit and a number of times during our
• 2:03:41
  conversation so far, and it was a.
• 2:03:43
  Painstaking process 3 seasoned editors on board here.
• 2:03:47
  Conrad buff the 4th. Mark Goldblatt.
• 2:03:50
  And Richard A Harris, all of whom would work with Cameron on
• 2:03:53
  previous projects. And all three would go on to win
• 2:03:55
  an Oscar for editing Titanic. Right?
• 2:03:58
  But Cameron was also present in the editing booth.
• 2:04:00
  In fact, he was editing on the go.
• 2:04:02
  As production started, so filming took place Monday to
• 2:04:05
  Friday and weekends were reserved for editing.
• 2:04:08
  Right. Slow down.
• 2:04:12
  Make no family. Commitments.
• 2:04:14
  No holidays. No, just working.
• 2:04:17
  Power through on the post of the title of the film.
• 2:04:22
  Includes a grenade. With a diamond.
• 2:04:23
  Pin attachment. You'll know exactly.
• 2:04:25
  What I mean, when you look at the poster now, if you look at
• 2:04:27
  that title, you'll know what it means.
• 2:04:29
  Yeah. This is a reference to a
• 2:04:31
  cutscene where Juno puts a grenade between Helen's legs and
• 2:04:34
  tells her all she has to. Do is keep our legs closed?
• 2:04:36
  Helen follows up with the line. Seems like a problem.
• 2:04:39
  You have. Very nice, good writing that.
• 2:04:41
  Harry later uses one of Helen's diamond earrings to repin the
• 2:04:45
  grenade. So that mean that scene is
• 2:04:47
  available. And it's so strange that there's
• 2:04:49
  a reference to it. Yeah.
• 2:04:51
  But I suppose it does tie into the whole marriage thing,
• 2:04:53
  doesn't it? That marriage, an earring.
• 2:04:55
  It's like an earring though, isn't it?
• 2:04:56
  If there'd been a wedding ring around there, like the grenade
• 2:04:59
  that would have been, that would.
• 2:04:59
  Have been really good. Yeah, it would have, yeah.
• 2:05:01
  The summer of 1994 was huge for Fox in terms of action
• 2:05:04
  blockbusters, speed. Came out in June, True Lies a
• 2:05:07
  month later on the 15th of July. It was a tight race, but
• 2:05:10
  ultimately True Lies became the the box office champ Speed gross
• 2:05:13
  just over 350 million worldwide. True Lies raked in 378.9
• 2:05:18
  million, making it the third highest grossing film of the
• 2:05:21
  year behind Forrest Gump and The Lion King.
• 2:05:23
  Right. OK, The film was the most
• 2:05:25
  expensive production in movie history, costing between 100.
• 2:05:28
  And 100. And 20. $1,000,000 Cameron
• 2:05:32
  beating his own record by overtaking the 94,000,000 the T2
• 2:05:35
  cost to. Make in 19. 91 Waterworld
• 2:05:38
  surpassed this in 1995 with an outrageous 175 million budget.
• 2:05:43
  And not to be outdone, Cameron reclaimed the crown in 1997 with
• 2:05:47
  Titanic, which broke the 200 million mark.
• 2:05:50
  Wow. I mean, he's just pushed the
• 2:05:52
  envelope in terms of budget and special effects all his career.
• 2:05:55
  He's kept going, doesn't he? Yeah, it was successful at box
• 2:05:58
  office and that success was equaled.
• 2:06:00
  With critics. Yeah, Empire gave it 4 out of
• 2:06:03
  five. True Lies proves that.
• 2:06:05
  Throwing everything at the camera.
• 2:06:06
  Sometimes works a true. It's great pretty spot, isn't
• 2:06:11
  it? Yeah, and Barry?
• 2:06:13
  Norman said a violent, but very. Enjoyable.
• 2:06:15
  Action-packed romp with excellent.
• 2:06:17
  Stunts and special effects. He's not wrong there.
• 2:06:19
  No rodgery bits. Our big man, Our man on the
• 2:06:22
  scene. What?
• 2:06:23
  Do you think he gave it out of four?
• 2:06:24
  Fellas. I think he's going to give it
• 2:06:26
  the full what, you know. Oh, I'll say maybe not.
• 2:06:30
  No. Yeah, I'll say 3 actually, I've
• 2:06:32
  just I've just dropped. Yeah, I've lost confidence.
• 2:06:33
  There immediately you. Said phone.
• 2:06:35
  And you realized all of the shit that we've been, all the shit
• 2:06:38
  that we've been talking about. Yeah, Actually, yeah.
• 2:06:40
  He's got to cut on some of it, truly.
• 2:06:42
  Yeah, Yeah. No, he was actually gave it
• 2:06:44
  three out of four. Right, he said.
• 2:06:46
  It's stuff like this that we go to see Arnold.
• 2:06:48
  Schwarzenegger movies for laugh out loud moments.
• 2:06:50
  When the violin. Is so cartoonish we don't take
• 2:06:52
  it seriously. And yet we're amazed at its
• 2:06:54
  inventiveness and audacity. Yes.
• 2:06:57
  Yeah. Now True Lies are 77% from
• 2:06:59
  critics and 76% from audiences on Rotten Tomatoes, and 7.3 out
• 2:07:03
  of 10 and IMDb kind about, right?
• 2:07:06
  Yeah. It was nominated for one BAFTA
• 2:07:09
  and 1 Oscar, both for Best Visual Effects.
• 2:07:11
  This is the only. Camera in film to be nominated
• 2:07:13
  for best visual effects and not win at the Oscars.
• 2:07:16
  Oh OK right. It was nominated once at the
• 2:07:19
  Golden Globes. That was Jamie Lee Curtis.
• 2:07:20
  She took the gong for best actress, Comedy or musical.
• 2:07:23
  He and it picked up a few in the lower rung award ceremonies,
• 2:07:28
  including three Saturn Awards. For best direction.
• 2:07:30
  Best Actress and Best Special Effects.
• 2:07:33
  OK, unsurprisingly, considering everything we've talked about
• 2:07:37
  the film. Was met.
• 2:07:38
  With a lot of. Controversy On release, the
• 2:07:40
  American Arab Anti Discrimination Committee
• 2:07:42
  protested outside a Washington movie theatre, claiming that the
• 2:07:46
  film portrayed Arabs as violent anti American zealots.
• 2:07:49
  Yeah, I mean signs being paraded around during the protests, Read
• 2:07:53
  has the La Vista. Fairness good and open your eyes
• 2:07:56
  and terminate the lies like that as well.
• 2:07:59
  These protests happened all over the country and the film was
• 2:08:01
  boycotted in 54 Arab and Muslim countries.
• 2:08:04
  Wow, that's a lot. Yes, a lot.
• 2:08:06
  Cameron responded to the claims by saying that he used quotes.
• 2:08:09
  Generic terrorists. I almost used Irish terrorists
• 2:08:13
  as the bad guy. Oh, well, that's all right then.
• 2:08:15
  Well, that's all right then. Yeah, that's fine.
• 2:08:16
  Yeah. The Irish thing refers to an
• 2:08:19
  early draft of the film. Which did involve IRA
• 2:08:21
  terrorists, but. This idea was scrapped after the
• 2:08:23
  plot of the Jeff Bridges Tommy Lee Jones Starr blown away was
• 2:08:27
  leaked and Cameron didn't want to have similar plot elements
• 2:08:30
  that film, which also came out the same year, 94 Yeah, right.
• 2:08:33
  Yeah, it was, wasn't it? Yeah.
• 2:08:34
  Allegedly, Fox refuted these claims of discrimination by
• 2:08:37
  saying. That the film doesn't label the
• 2:08:39
  bodies as Arab or Muslim, but Abraham who that member of the
• 2:08:42
  council on American Islamic relations took issue with this
• 2:08:46
  yes he did yes, he said Americans are conditioned to see
• 2:08:49
  cues that trigger their response for.
• 2:08:51
  Instance the Arabic headdress the villains wear.
• 2:08:53
  And no motivation is given for these terrorist acts, which is
• 2:08:57
  also a stereotype of Muslims and irrational hatred of America is
• 2:09:00
  what he called it. Yeah, Yeah, I mean, that's
• 2:09:02
  evident, isn't it? There's no real motivation for
• 2:09:06
  doing one line. That's it, Yeah.
• 2:09:07
  Yeah. So Fox later added a disclaimer
• 2:09:10
  to the end credit stating that this film.
• 2:09:12
  Is a work of fiction and does not represent the actions or
• 2:09:15
  beliefs of a particular culture or religion.
• 2:09:17
  But Hopper responded to this by saying the only people who saw
• 2:09:20
  it were us and three janitors. And it came after the disclaimer
• 2:09:23
  that said no animals were hurt in the making of the film.
• 2:09:26
  Wow. Wow.
• 2:09:27
  That's unbelievable. Yeah.
• 2:09:28
  Yeah. It's not a good look up.
• 2:09:30
  No, no. Definitely not.
• 2:09:32
  But that wasn't the only controversy that's around a True
• 2:09:34
  Lies. Since its release, was it
• 2:09:35
  Wesley? It was.
• 2:09:36
  Not we mentioned The True Lies as a remake of the French film
• 2:09:40
  Leto Tao. In 2000, the director and Co
• 2:09:43
  writer of the film, Claude Ziti and Cameron was sued by French
• 2:09:47
  writer Lucian Lambert. That's right, and his case was
• 2:09:51
  that both Lap Hotel and True Lies had plagiarized a.
• 2:09:53
  Screenplay, he wrote. In 1981 called a Meal which was
• 2:09:57
  about a conman poisonous to spy to get in the good graces of a
• 2:10:00
  woman. He had his eye on CD.
• 2:10:02
  He had worked with Lambert on previous projects, but Lambert
• 2:10:05
  script was never produced as a movie.
• 2:10:06
  However, he did later to turn it into a stage player right.
• 2:10:10
  Lambert lost the case in 2001, but in 2004 the Court of Appeal
• 2:10:14
  in. Paris ruled in his favor.
• 2:10:16
  So Zeni was ordered to pay Lambert 15,000,000 dollars, $15
• 2:10:20
  million live, Yeah, which was his cut of the box office
• 2:10:23
  returns from true. Lies.
• 2:10:26
  Yes, what's going to sting? The case against Cameron was
• 2:10:30
  dropped. Though.
• 2:10:30
  With the court. Ruling that he bought the
• 2:10:32
  rights. To the LA Total screenplay.
• 2:10:33
  In good faith. Fair enough.
• 2:10:35
  That makes sense. So amid all the controversy in
• 2:10:38
  the lawsuits that True Lies whipped up, it managed to come
• 2:10:40
  out with enormous success on all fronts, A trend which is
• 2:10:43
  consistent throughout Cameron's career, sequels and influence.
• 2:10:52
  No sequels to True Lies. But that wasn't for the one to
• 2:10:55
  try. It right Westie, exactly.
• 2:10:56
  I mean, he does love A. Good sequel I and Jim.
• 2:10:59
  Plans were in place to return. Back to the taskers for True
• 2:11:02
  Lies to after Titanic this was written with Cameron, JLC,
• 2:11:07
  Arnie. Everyone was on board for a 2002
• 2:11:09
  release, but after the event of 911 Cameron Shelvey idea
• 2:11:14
  thinking a light. Hearted look at terrorism.
• 2:11:16
  Would be in bad taste. You don't see a gym.
• 2:11:19
  Yeah, don't. Don't do it twice.
• 2:11:21
  Yeah, exactly. You got away with the ones.
• 2:11:23
  Yeah, that's definitely. Not after 911, but.
• 2:11:25
  Despite various. Efforts.
• 2:11:26
  It just looks to be dead in the water.
• 2:11:28
  Yeah. Too long now.
• 2:11:30
  It's too long for the best, I think.
• 2:11:31
  Yeah, you can't go back to this. There was a 2023.
• 2:11:34
  TV adaptation. Of True Lies, starring Steve
• 2:11:37
  Howie in the lead. Not the former Newcastle United
• 2:11:40
  defender Steve, unfortunately, a lot.
• 2:11:43
  Of being a. Sight worth seeing.
• 2:11:45
  Yeah, it got Midland reviews, was canned.
• 2:11:47
  After the first. Season.
• 2:11:48
  Despite Tom Arnold showing up in a small.
• 2:11:50
  Role as well as Beverly D'Angelo, Keith David and
• 2:11:53
  Matthew Lilliard popping up as well.
• 2:11:55
  Oh really? Decent cast.
• 2:11:57
  I missed me this one. I didn't even know that was that
• 2:11:59
  was yeah. So no sequels.
• 2:12:03
  And in the since its release, where?
• 2:12:05
  Have we seen True Lies as influence where we think it's
• 2:12:07
  legacy is? I think there's a few things at
• 2:12:09
  play here. It's the end of Cameron as we
• 2:12:12
  knew him or as we would like to know him.
• 2:12:15
  After this, he gets completely overwhelmed by two huge
• 2:12:18
  projects. The 1st is Titanic, and
• 2:12:20
  everything that happens as a result include making a number
• 2:12:23
  of documentaries about shipwrecks and oceanic life.
• 2:12:25
  He became obsessed. Yeah, yes, yeah, he did.
• 2:12:28
  And then he moved on to Avatar and and that made that his life.
• 2:12:32
  That work in the 21st century. Yeah, as I mentioned earlier, I
• 2:12:36
  think it's the last great Schwarzenegger film.
• 2:12:38
  And it came out in 94 the. Last Bond was in 89, Gold and I
• 2:12:42
  wouldn't be out for another year, and I really think this
• 2:12:44
  was influential in shape and what a spy film could look like.
• 2:12:47
  I wouldn't be surprised if Gold and I took a few cues from here.
• 2:12:50
  Probably, probably. It certainly represents the
• 2:12:52
  crossover point between practical and CGI effects work
• 2:12:55
  in movies. CGI hurdle.
• 2:12:56
  Forward from here and I think Cameron's just been a
• 2:12:58
  torchbearer for cutting edge movie effect pushed the envelope
• 2:13:02
  since he started and he's led the way for other movies to pick
• 2:13:04
  up the baton. And I think that's the real
• 2:13:06
  influence from me here. It's another step in the
• 2:13:08
  advancement of CGI, the effects of which are there to see in
• 2:13:11
  modern cinema. And a lot of that is down to
• 2:13:13
  James Cameron's progression in the medium.
• 2:13:16
  Yeah, I think again, like you've said, it's all about, you know,
• 2:13:19
  the the big, big films and the. Big influence and the fact that
• 2:13:22
  if you spend money, you make money.
• 2:13:23
  I think that's what Cameron proved from this.
• 2:13:25
  Yes, he spent a lot of money at the time, but it made a lot of
• 2:13:28
  money back. It made three times the amount
• 2:13:29
  it cost a huge. And you've mentioned Bond there
• 2:13:32
  and I think it really did have influence on the Bond universe,
• 2:13:35
  especially the Brosnan films. I think so, yeah.
• 2:13:38
  It's literally just it's word for word, beat for beat.
• 2:13:41
  It's like, oh, there's a Harry a jump.
• 2:13:42
  Jet, right, OK. You know, there's jumping off a
• 2:13:44
  dam where they had Simon, right? OK, that makes sense.
• 2:13:46
  There's all of these little bits that kind of tapped into it and
• 2:13:49
  it made Bond. I think especially the Brosnan
• 2:13:50
  Bond was funny, but he was also kind of flawed in a certain way,
• 2:13:54
  which I think this kind of adds on to especially these romantic
• 2:13:57
  relationships were always seem to be a little bit more a little
• 2:14:00
  bit darker and a little bit more serious.
• 2:14:01
  You know, a lot of those deaths in there and it was, you know,
• 2:14:04
  it was actually taken seriously, I think.
• 2:14:06
  And a lot of that comes from this, the Mission Impossible
• 2:14:08
  films, I think the later ones, the stunt work on that that just
• 2:14:12
  went well. Let's look at True Lies.
• 2:14:13
  Yeah, that's CGI. Some of it, yes, it's green
• 2:14:15
  screen. Let's just do that for real.
• 2:14:16
  That's absolutely fine. The Marvel Cinematic Universe, I
• 2:14:19
  think always a debt to James Cameron and True Lies and just
• 2:14:23
  the the confidence and the arrogance that goes along with
• 2:14:26
  it of like, if we spend the money, we're going to make the
• 2:14:28
  money. So I think it's given a lot of
• 2:14:29
  people confidence to say, yes, this is proof.
• 2:14:31
  I'll show you that it works. And he did it first and everyone
• 2:14:34
  else has followed suit. Absolutely.
• 2:14:35
  Yeah. And big on him as well.
• 2:14:37
  I mean, Titanic wouldn't have been made if this hadn't made
• 2:14:39
  the money back. That's.
• 2:14:40
  True, you know. What about you, Matt?
• 2:14:42
  Yeah, very similar. It is that real outlier in
• 2:14:45
  Cameron's. Filmography.
• 2:14:46
  Now, as we've been saying, probably.
• 2:14:48
  The last time Arnie hit these sites with his performances or
• 2:14:51
  his film choices I think, and certainly in terms of influence.
• 2:14:54
  You mean you've both mentioned them.
• 2:14:56
  Its Bond and its Mission Impossible.
• 2:14:58
  I think the tank escape in Goldeneye, that was the biggest
• 2:15:02
  sequence I think you'd ever seen in a Bond film.
• 2:15:04
  I don't think that they'd have the confidence to do that until
• 2:15:07
  someone had seen Two Lies Go. Actually we can amp this up here
• 2:15:09
  a little bit. The pre credit taken from
• 2:15:12
  Tomorrow Never Dies with the Harry drum set.
• 2:15:14
  The kind of arms. Bizarre.
• 2:15:15
  That's very true. Lies and then Mission
• 2:15:17
  Impossible, I think the Florida key sequence that really shows
• 2:15:20
  up in Mission Impossible Three with Hoffman's character where
• 2:15:23
  he gets rescued and I think a bathroom scrap that gets taken
• 2:15:26
  even further in Fallout. Yeah, that's really high like
• 2:15:28
  that. Absolutely.
• 2:15:30
  So no sequel likely for True Lies, and I think that's
• 2:15:32
  probably for the best. That is for the best, Yeah.
• 2:15:36
  He's got nothing else to prove on this, on this level.
• 2:15:39
  That's fine. But the film stands.
• 2:15:41
  Out for its huge budget, it's huge set pieces.
• 2:15:45
  And it's huge special effects and LED the way for the future
• 2:15:47
  of movie effects in Cameron being on the cutting edge of
• 2:15:50
  that. Yeah, all the right movies
• 2:15:55
  ranking. Now it's time for us to
• 2:15:58
  summarize and. Score True lies out of 10.
• 2:16:00
  And. We've come a long way.
• 2:16:02
  Big journey. It's been ups and downs and this
• 2:16:06
  is a hell of a ride. A blast.
• 2:16:08
  Loads of outrageous set pieces, a great cast.
• 2:16:11
  Arnold's best performance for me.
• 2:16:13
  Showing strokes of comedy genius.
• 2:16:15
  Sometimes, yes, it's pure blockbuster cinema, loads of
• 2:16:20
  oohs, loads of ha ha ha. It's great.
• 2:16:24
  It's not weird in material. There's nothing going on too
• 2:16:27
  much beyond the surface. Level, but that's fine.
• 2:16:29
  I love a bit of popcorn cinema and this one really delivers on
• 2:16:32
  the thrills and spills. Really does.
• 2:16:34
  It is, however, 20 minutes too long.
• 2:16:36
  There's some questionable cultural.
• 2:16:38
  Representations. The character assignment, that
• 2:16:40
  departure that the film takes is insane and the only thing that
• 2:16:44
  saves it is Paxton with one of his greatest performances.
• 2:16:47
  Yes, agreed. I've got a real problem with the
• 2:16:49
  right and specifically the treatment of the character of
• 2:16:51
  Helen and the. Objectification of.
• 2:16:53
  Her so it's a melting pot. I'm scoring it's 7.5 out of 10
• 2:16:57
  right OK, fair enough. Yes.
• 2:17:00
  What about you Matt? I said at the sort.
• 2:17:02
  The question is, why did this never stick with?
• 2:17:04
  Me the previous time to try to watch it.
• 2:17:07
  And I think the answer is, is the film.
• 2:17:08
  It rarely feels like James Cameron in terms of the action.
• 2:17:11
  If I think James Cameron, I think action, balls to the wall.
• 2:17:15
  And that's not really the point. For once in this, it is just as
• 2:17:18
  much, if not more so about that relationship and the comedy that
• 2:17:21
  he spins off from that. Once I adjusted to that my
• 2:17:24
  expectations, this played a lot better.
• 2:17:26
  Now it's one of the funniest films I've ever seen.
• 2:17:28
  Nor in the action for the most part part from the Florida key
• 2:17:31
  sequence. I would say it isn't top tier
• 2:17:33
  Cameron either. But it is a lot of fun and I'll
• 2:17:35
  be honest, I went into this kind of dreading it a little bit in
• 2:17:39
  case I really didn't get it. I got to the end feeling a lot
• 2:17:42
  more positive about it, which is great and it is one I can see
• 2:17:45
  watching again in the future, which I didn't think I would say
• 2:17:47
  beforehand. OK, great.
• 2:17:49
  But it is over long definitely in the middle.
• 2:17:51
  There are aspects to it we've. Gone through them all that are
• 2:17:54
  so. 90s, they are painful to watch and I think to give this
• 2:17:57
  anything close to top marks, it has to be a film that you've
• 2:18:00
  lived with since it came out. One that you go back to again
• 2:18:04
  and again where you can't overlook the flaws.
• 2:18:06
  That's fine. We all have those films.
• 2:18:08
  I have those films. This obviously isn't one of them
• 2:18:11
  for me, so I'm also giving it a 7.57.5.
• 2:18:15
  Consistency is key. OK, how do you feel about that
• 2:18:18
  Wester? Your scoring.
• 2:18:19
  Summary Yeah, I mean, I do love this film.
• 2:18:22
  It hit me just at the right moment and I can't help but feel
• 2:18:25
  that. Excited, kid.
• 2:18:25
  Every time that you know, True Lies comes on and that score
• 2:18:28
  comes on that I'd forgotten about.
• 2:18:30
  And I love that about the film, actually, because there's so
• 2:18:32
  much in it. You forget how good it is, Yes.
• 2:18:34
  And you forget how engaging it is and how entertaining it is
• 2:18:36
  and how much fun it is. Really solid performances all
• 2:18:39
  the way through. The only problem I've got with
• 2:18:41
  it is that the performances are sometimes defending the writing
• 2:18:44
  as opposed to everything going hand in hand.
• 2:18:47
  And it makes it accessible and humanizes it.
• 2:18:50
  Jamie Lee Curtis not being in this film, it doesn't make 300
• 2:18:53
  million. I'm sorry.
• 2:18:55
  It does not. It does not work.
• 2:18:56
  And Titanic doesn't get made, and he doesn't make Avatar, and
• 2:18:59
  he owes his. Career JB Lee.
• 2:19:00
  Curtis pulling this off I think as same as Schwarzenegger, just
• 2:19:03
  that level and that tone that he brings to it.
• 2:19:05
  There's a lot that comes from this film and I think it is a
• 2:19:07
  blueprint, but I think it's one that people like to ignore and
• 2:19:10
  like to put the like to take influence from it.
• 2:19:12
  But don't quote it's because it's not one of them films of
• 2:19:15
  that high regard from a, a cinematic point of view, from
• 2:19:18
  like a, you know, a cinema history.
• 2:19:20
  You've got to put True Lies in there as an important film.
• 2:19:22
  It is. But I think it got away with it.
• 2:19:24
  I think it got away with a lot of things and it was very lucky.
• 2:19:27
  And I think that's one of the main reasons we haven't got a
• 2:19:29
  sequel. And I think that's one of the
• 2:19:30
  main reasons that Cameron went to do Titanic.
• 2:19:32
  He got away with it. He knows he got away with it.
• 2:19:35
  It's tons of fun in act one. It's an incredible feat in act
• 2:19:38
  three. Act 2 does drag and it really
• 2:19:41
  pulls the film down. I'm not going to give it a 7.5
• 2:19:43
  because I still absolutely love being that kid, that 13 year old
• 2:19:47
  kid. It has got its flaws.
• 2:19:48
  Yes, it's it's it's not perfect, but he got away with it.
• 2:19:51
  So it's it's an 8 out of 10 for me. 8, yeah, a solid score, a
• 2:19:54
  fair score, I think. Yeah, very definitely our 4th
• 2:19:57
  and final. Score for True Lies comes from
• 2:19:59
  our Patreon community. It's been hotly.
• 2:20:01
  Debated and here are some comments before I reveal the
• 2:20:04
  final score from Mark Webb. He says Arnie having a wheel of
• 2:20:08
  a time, GLC bringing her a game, Tom Arnold Korea high point,
• 2:20:12
  Bill Paxton retrospective, best supporting actor Oscar please.
• 2:20:16
  No really. Crimson Jihad bit on the nose
• 2:20:19
  but I can forgive it a 10. Absolutely classic Arnie and
• 2:20:24
  Apex. IM gin before the.
• 2:20:25
  Giant. Blue Smurfs of mediocrity got
• 2:20:27
  drunk. It has to a clearly lover in
• 2:20:30
  every single minute of it. Did I say 10?
• 2:20:32
  It's a. 10. Wow, Wow.
• 2:20:34
  All right. Wow.
• 2:20:35
  That is a barrage. I mean, that's true.
• 2:20:37
  Lies in a paragraph. In a review.
• 2:20:41
  Review lies, Trevor Courier said.
• 2:20:46
  Fun movie with some. Great action and comic beats the
• 2:20:49
  horse. Motorcycle chase scene is
• 2:20:51
  hideously awesome. I agree.
• 2:20:52
  Yeah, so Arnold is funny. And Bill Paxton is amazing as
• 2:20:56
  sleazy used car salesman. Simon.
• 2:20:58
  Good fun. It's an 8.5 for me.
• 2:21:01
  All the best from your mate in the States.
• 2:21:03
  Isn't that nice? Thank you, Trevor.
• 2:21:05
  Thanks, Trevor. And finally, a review from the
• 2:21:09
  Magnificently. Named Charlie Watts.
• 2:21:11
  Hello CCC says Arnie gets his James Bond moment.
• 2:21:16
  Superb set pieces. Great one liners and for.
• 2:21:19
  Me. The best performance of Arnold's
• 2:21:20
  career. There's a theme here.
• 2:21:22
  Unfortunately, he never reached anywhere near this level again.
• 2:21:25
  Nine. OK, is that German or it's
• 2:21:31
  Austrian? Austrian.
• 2:21:35
  So there's a patron temperature check.
• 2:21:37
  On True Lies, what do you think it?
• 2:21:38
  Averaged out of 10 fellas. I'm going to say about Nate, I
• 2:21:42
  think, I think they'll appreciate it.
• 2:21:44
  It's that kind of group isn't? It I'll go at 8.5 they might
• 2:21:47
  nudge it up a bit. No, no, Wester, you've got it.
• 2:21:50
  It was an ace and. Respectable.
• 2:21:52
  Yeah. Cool.
• 2:21:53
  Yeah. Unsurprising.
• 2:21:54
  It's not perfect, it's not without its fault, but it's
• 2:21:57
  still. A hell of a ride.
• 2:21:58
  It is, yeah. So that means combined True Lies
• 2:22:01
  scores 31 out of 40 a decent. Score.
• 2:22:04
  Representative of the film, I think, Yes, I think so, yeah,
• 2:22:07
  definitely. All the Right movies will return
• 2:22:10
  in two weeks, the three of us. Here will be back.
• 2:22:12
  All the way back, in fact, to 1941 and the site of one of the
• 2:22:16
  quintessential new art films, John Houston's The Maltese
• 2:22:19
  Falcon. That will be red hot, red hot,
• 2:22:23
  red hot, no. No dip in Act 2 there.
• 2:22:28
  Absolutely no storytelling. Yeah.
• 2:22:30
  No. No dip whatsoever?
• 2:22:32
  No. Before.
• 2:22:35
  That though our studio. Heads.
• 2:22:36
  And directors, chair, parents can hear us.
• 2:22:38
  Talking about Shane Black's kiss.
• 2:22:40
  Kiss, Bang Bang and the Nice Guys on our exclusive double
• 2:22:42
  feature. That's our next week and we can
• 2:22:45
  confidently say that that is a winner of an.
• 2:22:48
  Episode We have a great time. That was loads of fun, that one.
• 2:22:51
  If you haven't done it already, please give us a positive
• 2:22:53
  written whenever. You listen to your podcasts if.
• 2:22:55
  You've got this far. You must think that it's a nice
• 2:22:58
  piece. So let other people know about
• 2:23:00
  us. Really helps us out.
• 2:23:02
  Matt, can you do it? Because you haven't done it yet.
• 2:23:03
  Oh, go on, Matt. It's a nice piece, Yes.
• 2:23:08
  Wonderful. Once you say it once, that's
• 2:23:10
  take you. Done to slip me.
• 2:23:11
  I've never felt I'd earned the right to say it.
• 2:23:14
  Before course I do. Oh, now?
• 2:23:16
  You're a squat. Yeah, that's what you're going
• 2:23:17
  to say it all the time. Now that's a knife.
• 2:23:21
  I post that there's a new. Tonight's piece, as ever, we're
• 2:23:27
  on. Social media around.
• 2:23:28
  The clock we're on X Blue Sky Threads, Instagram and TikTok.
• 2:23:32
  Our Making of movie threads go up on X, and just like our
• 2:23:34
  podcasts, they are researched within an inch of their lives,
• 2:23:37
  with all information coming from at least three sources or from
• 2:23:40
  the mouths of the cast and crew. Yes, you can join our Facebook
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  group for another incredible movie community of ours.
• 2:23:46
  And our YouTube. Channel is youtube.com/all the
• 2:23:49
  Right Movies where you can also listen to all of our podcasts.
• 2:23:53
  Yes, and our website is All the Right movies.com.
• 2:23:56
  Oh, and that. Is a wrap.
• 2:23:58
  Everyone, we're off to praise some art, if you can believe
• 2:24:01
  that. Yeah, Persian.
• 2:24:07
  Isn't it? It's a nice piece.
• 2:24:09
  The irony is. It's not even a nice piece.
• 2:24:10
  No, no. He's talking about no, that's a
• 2:24:15
  shit piece. Thank you for listening everyone
• 2:24:19
  come back. For the Maltese Falcon in two
• 2:24:21
  weeks. Yes.
• 2:24:22
  Thank you very much for listening guys.
• 2:24:23
  Really appreciate it. Wesley, can I see your
• 2:24:46
  invitation? Here's my invitation.
• 2:24:56
  Here's my invitation.