Latest / Houselights: A Film Director Podcast / The Doors (1991) - Oliver Stone | Houselights #192

Transcript

The Doors (1991) - Oliver Stone | Houselights #192 · Houselights: A Film Director Podcast

0:03
Speaker 1: Welcome to the net party is everybody in the podcast
0:25
Speaker 1: is about to begin. Welcome to house Lights, where we're
0:29
Speaker 1: going into our new house of Oliver Stone biopics, starting
0:34
Speaker 1: with nineteen ninety one's The Doors, his epic epic film
0:39
Speaker 1: that splashed onto the scene celebrating the man known as
0:44
Speaker 1: Jim Morris and the Lizard King, lead singer of The Doors.
0:47
Speaker 1: And even though it's so focused on him, it's still
0:49
Speaker 1: called The Doors. And that's one of the things we'll
0:51
Speaker 1: be exploring here on house Lights as I am joined
0:55
Speaker 1: with the legendary producer Tristan Riddell and cantankerous drummer bandmate
1:01
Speaker 1: Darren Moser, and guys, welcome to this discussion about The Doors.
1:05
Speaker 1: Now important disclaimer here, I'm the only one old enough
1:09
Speaker 1: to have seen this in the movie theater, even though
1:12
Speaker 1: I think technically I should have had parental guidance or something,
1:15
Speaker 1: but I didn't. So I just want to go ahead
1:19
Speaker 1: and open this up and say I expect the two
1:22
Speaker 1: of you to keep me honest here and keep tight
1:26
Speaker 1: constraints on me because I'm a lifelong Doors and Jim
1:29
Speaker 1: Morrison aficionado, fan, diehard fan fanatic. If you will and
1:34
Speaker 1: I'm going to rely on the two of you to
1:36
Speaker 1: keep me from going off the rails. So, gentlemen, are
1:39
Speaker 1: you ready for this? Darren? This is your first viewing.
1:43
Speaker 1: This is of the Doors, and Tristan, you've seen this
1:47
Speaker 1: in pieces before, but never all the way through from
1:49
Speaker 1: beginning to finish. Correct.
1:51
Speaker 2: Yeah, I don't really remember it. I must have watched
1:53
Speaker 2: it during one of my blackouts.
1:55
Speaker 3: I don't know.
1:57
Speaker 1: Nice reference right there to one of Morrison's own quotes.
2:00
Speaker 1: And we just so everybody knows, we watched the theatrical cut,
2:05
Speaker 1: because even though there was a final cut that was
2:07
Speaker 1: released in four k Oliver Stone then back pebbled a
2:10
Speaker 1: little bit and said, no, the final cut isn't really
2:12
Speaker 1: the cut that you should watch. It should be the
2:13
Speaker 1: theatrical cut because I realized that I cut too much.
2:16
Speaker 1: Blah blah blah, usual rigamarole, And now everybody will fight,
2:20
Speaker 1: I'm sure, the way they do over the Star Wars
2:22
Speaker 1: special editions. Ha ha, just kidding. So, Tristan, of the
2:26
Speaker 1: parts that you remembered seeing and everything like that, Now
2:29
Speaker 1: that you've seen it all in a flow, let's open
2:32
Speaker 1: up with your impressions of the film. Did it live
2:35
Speaker 1: up to the vibe you had in your brain from
2:39
Speaker 1: the pieces you had seen.
2:44
Speaker 2: Man, what a question. It's right out of the gate too.
2:49
Speaker 2: That's so complex, you know. It's it's interesting because I
2:54
Speaker 2: give Oliver Stone a lot of grace, Like I haven't
2:58
Speaker 2: seen everything that he's done, but a few of his films.
3:02
Speaker 2: I'm like, this is great, Like, this is amazing, this
3:06
Speaker 2: is really cool. And I've seen some films where I'm like,
3:08
Speaker 2: this is man, this is garbage. And so I never
3:11
Speaker 2: know what I'm gonna get with an Oliver Stone film.
3:15
Speaker 2: It's really perplexing. And this. You and I have been
3:21
Speaker 2: friends for a while now, yes, and you you have
3:26
Speaker 2: bought me the albums of the Doors like you like
3:31
Speaker 2: for my birthday and for Christmas, like you have sent
3:33
Speaker 2: me the Doors albums, and so I had a lot
3:38
Speaker 2: Like I was really apprehensive when I sat down to
3:42
Speaker 2: watch this. I was like, man, this movie's really important
3:45
Speaker 2: to John, Like, I'm going to give this a fair shake.
3:48
Speaker 2: I'm going to figure this out. And I was actually
3:50
Speaker 2: live texting you while you watching you where it was
3:53
Speaker 2: just like I was like, oh man, we got to
3:54
Speaker 2: the desert scene, good lord, what is happening?
3:58
Speaker 1: And I think everybody. Everybody had that reaction with the
4:01
Speaker 1: desert scene. In fact, it got its own reference in
4:04
Speaker 1: Wayne's World too, where they had a similar sort of
4:06
Speaker 1: thing happen and somebody said, did you see the naked Indian?
4:09
Speaker 1: Wasn't that a bit much?
4:12
Speaker 2: See? That's the thing. Yeah, like I like, I saw that.
4:14
Speaker 2: I saw I saw that. I saw Wayne's World before
4:17
Speaker 2: I saw the Doors, and so I had no idea
4:20
Speaker 2: what it was. I just thought it was a wacky scene. This,
4:24
Speaker 2: this did not okay, how do I phrase this? This
4:29
Speaker 2: was not as straightforward as I thought it was going
4:32
Speaker 2: to be.
4:33
Speaker 1: That is an incredibly fair way to put that, because
4:36
Speaker 1: I remember one of the reviews at the time, I
4:39
Speaker 1: believe in the Washington Post that said it was like
4:41
Speaker 1: attending a party where everybody was high except you, and
4:45
Speaker 1: that that review obviously is stuck with me for the
4:47
Speaker 1: last several decades. Now, Darren, this is your first time
4:51
Speaker 1: encountering the Doors, so walk us through. I feel like
4:55
Speaker 1: you've already said that, but yeah, I I you know,
4:59
Speaker 1: you know what. I I have the soul of the clown,
5:01
Speaker 1: which forces me to blow it at the worst possible moments. So, Darren,
5:06
Speaker 1: what did you know about this film going into it,
5:08
Speaker 1: what was its reputation? Are you a Doors fan? Like,
5:11
Speaker 1: were you going into this like, oh yeah, I really
5:13
Speaker 1: dig this, this is a good idea, or were you
5:15
Speaker 1: going into this saying what like you you blank slate,
5:19
Speaker 1: you had no idea what was going to happen?
5:21
Speaker 4: I mean I know of a band called The Doors,
5:24
Speaker 4: and I could name a handful of their most popular songs,
5:28
Speaker 4: but that was about it. So this was really an
5:32
Speaker 4: introduction in not just to like the history you know
5:36
Speaker 4: of the band, but also save me, John. I value
5:42
Speaker 4: our friendship so much.
5:44
Speaker 1: Oh no, no, no, no, But it was but yeah,
5:48
Speaker 1: so very blank slate in that regard.
5:50
Speaker 4: And it was because I in my mind I kept
5:54
Speaker 4: comparing it to you know, like almost famous and like
5:59
Speaker 4: the Stars, but like those kinds of movies, and so
6:02
Speaker 4: it was. Yeah, it was really intense watching it as
6:05
Speaker 4: it's like his musical career is beginning. And I take
6:08
Speaker 4: everything with a grain of salt because it's a biopic.
6:10
Speaker 4: It's not like a legit documentary.
6:13
Speaker 2: You should not take it with a grain of salt.
6:15
Speaker 2: You should take it with like a pound or like
6:18
Speaker 2: a like a go I don't know.
6:21
Speaker 1: Go to a salt, go to a salt mine and
6:23
Speaker 1: just carve off chunks as you need them. That's what
6:25
Speaker 1: I would say.
6:26
Speaker 4: But it basically I'm like, man, seventies just destroyed everything,
6:32
Speaker 4: like my goodness, Like it's just this tumultuous time of
6:38
Speaker 4: and you feel bad because you feel like, oh man,
6:40
Speaker 4: this band is going like up and down and sideways
6:43
Speaker 4: and it's just crazy. Stuff is happening again with that
6:47
Speaker 4: pound of salt. But no, but very very blank slate
6:50
Speaker 4: going into it, which I enjoyed. I enjoyed just not
6:53
Speaker 4: knowing and trying to piece together, especially with this kind
6:57
Speaker 4: of unreliable narrator in a lot of cases.
7:02
Speaker 1: Yeah, that's a good way to put it. The unreliable
7:05
Speaker 1: narrator in this case is the director himself, and that's
7:09
Speaker 1: always tricky.
7:10
Speaker 2: I think that's interesting. That's interesting.
7:12
Speaker 1: It is interesting, and it's specifically interesting because a lot
7:16
Speaker 1: of the decisions Stone made Now just to rewind it
7:20
Speaker 1: a little bit, like I said, I was old enough
7:22
Speaker 1: to see this in the theater. I was. It's hard
7:25
Speaker 1: to overstate how how much the Doors music and Jim
7:29
Speaker 1: Morrison's lyrics and specific have meant to me in my life. Right,
7:32
Speaker 1: I always make the joke that my personal identity was
7:35
Speaker 1: formed between the two polls of George Lucas and Jim Morrison,
7:39
Speaker 1: and that kind of explains why I am the way
7:41
Speaker 1: I am. But when this film was coming out, my
7:46
Speaker 1: brother took me to go see Awakenings, starring Robert de
7:49
Speaker 1: Niro and Robert and Robin Williams. And I was like,
7:51
Speaker 1: oh God, oh, great film, great film. But he's he's
7:55
Speaker 1: taking me along, and I'm like, why are we going
7:57
Speaker 1: to go see this? And my brothers like, don't worry,
7:59
Speaker 1: don't worry, trust me, trust me. You I love this,
8:00
Speaker 1: you gonna love this, and I go and the trailer
8:03
Speaker 1: for the Doors was in front of Awakenings. That's the
8:06
Speaker 1: only reason my brother took me to go see it,
8:08
Speaker 1: because he wanted to be the one to see my
8:10
Speaker 1: reaction when I saw the trailer for the first time,
8:13
Speaker 1: it was like a kid at Christmas getting an unexpected
8:18
Speaker 1: like Nintendo or something like that. Like I almost came out.
8:21
Speaker 1: I almost levitated out of my seat.
8:23
Speaker 2: But he ran the risk of you killing yourself after
8:26
Speaker 2: watching Awakenings and never seeing the Doors.
8:31
Speaker 1: Uh, you know, I love Awakenings. I thought it was
8:34
Speaker 1: very moving. I actually read the book that the story
8:36
Speaker 1: is is based on.
8:38
Speaker 2: Yeah, it's a great it's a great movie. It's very
8:40
Speaker 2: it's it's very moving, but oh my god, oh it's
8:44
Speaker 2: a journey. It's definitely a journey. Trust me that that
8:47
Speaker 2: movie stays with you. But he took me just for
8:49
Speaker 2: that trailer.
8:51
Speaker 1: And when this film was released, I literally ran from
8:57
Speaker 1: school to the movie theater because this is the days
8:59
Speaker 1: before were pre buying your tickets or guaranteed seats or
9:02
Speaker 1: anything like that, kid's and I was stupid enough to
9:05
Speaker 1: think that this was going to be a huge, huge, massive,
9:08
Speaker 1: like Star Wars style, lying around the block sort of thing.
9:13
Speaker 1: And I ran and I had to see it the
9:15
Speaker 1: very first possible showing I could see, And I mean
9:19
Speaker 1: it was basically like a religious experience to me that
9:21
Speaker 1: there was a Doors movie at all. And Tristan, knowing
9:26
Speaker 1: that and knowing you know, every all of the baggage
9:29
Speaker 1: that I brought into it, what I want to ask
9:31
Speaker 1: you is, did you see anything in the film about
9:34
Speaker 1: the person of Jim Morrison or the band The Doors
9:38
Speaker 1: that would explain why a teenage boy would be so
9:43
Speaker 1: darned excited by the prospect of watching these people on screen.
9:47
Speaker 1: Was there anything where you could understand that spark? Did
9:50
Speaker 1: you walk out of this film going yeah, I get it.
9:53
Speaker 1: I get why people are fans of this band and
9:55
Speaker 1: why Morrison means so much.
9:57
Speaker 2: No of the of the movie, of the movie, no,
10:01
Speaker 2: but like of the excitement about it. Absolutely. Just yesterday,
10:08
Speaker 2: just yesterday, my sixteen year old second cousin was with
10:14
Speaker 2: me on a big family event and we were all
10:17
Speaker 2: going bowling and his father, who is my first cousin,
10:21
Speaker 2: came to me and said like, hey, you know, like
10:24
Speaker 2: he's wearing his Deaftones T shirt and he asked He's like,
10:28
Speaker 2: he's like, hey, do you think Tristan knows who the
10:30
Speaker 2: Deaftnes is. He's like, yeah, yeah, no, Tristan knows who
10:33
Speaker 2: the Deaftones is. Okay, I'm gonna wear the shirt. And
10:35
Speaker 2: so I'm like, okay, I won't. I won't let him know,
10:37
Speaker 2: but I'll bring it up. And so I said, I
10:39
Speaker 2: was like, hey, man, I see you're wearing a deaftone shirt.
10:40
Speaker 2: He's like, yeah, I am. It's like, tell me some
10:42
Speaker 2: of your favorite songs. Let's talk about him, you know,
10:44
Speaker 2: like I you know, I did it try kind of
10:46
Speaker 2: on the sly when you're that age. When you're a teenager,
10:51
Speaker 2: you feel like you're discovering music for the first time,
10:55
Speaker 2: Like like you go to your parents and you say,
10:57
Speaker 2: have you ever heard of the Beatles before? Like, yeah, yeah, Tristan,
11:01
Speaker 2: we've heard of the Beatles before. You know, it's that
11:04
Speaker 2: kind of thing like you experience so much when you're
11:07
Speaker 2: a teenager. And the Doors specifically, you know, like there's
11:13
Speaker 2: a reason why in the movie they really hammered it
11:15
Speaker 2: in that he was a poet, not a musician, Like
11:18
Speaker 2: that's where his strength was. And when you're a teenager
11:21
Speaker 2: and you're really into music, that's what you're looking for.
11:25
Speaker 2: You're looking for poetry with music, not the other way around.
11:29
Speaker 2: And so I can absolutely see why a teenager would
11:33
Speaker 2: be excited for this movie because you want to see
11:36
Speaker 2: that poet explored.
11:39
Speaker 1: But did you see anything about the person of Jim
11:42
Speaker 1: Morrison in this film that would make you want to
11:48
Speaker 1: explore him more? Slash understand the appeal? Like does the
11:52
Speaker 1: movie community.
11:53
Speaker 2: I'm going to cut you off. No, absolutely not. I
11:57
Speaker 2: did not know this. I think that's a very solid question.
12:00
Speaker 2: That's a really good question because the answer is one
12:04
Speaker 2: percent no. When I finished this movie. I immediately went
12:08
Speaker 2: and did some research to try to figure out how
12:10
Speaker 2: much of this was real, and I was shocked to
12:13
Speaker 2: find out how almost none of it is real, and
12:16
Speaker 2: how his bandmates were like you know, like Jim walking
12:19
Speaker 2: around holding a liquor bottle while he's you know, like
12:22
Speaker 2: just like talking to people that never happened. Thanksgiving never happened,
12:26
Speaker 2: you know, like you like all of these things like
12:30
Speaker 2: walking into some like going into somebody's balcony, sneaking into
12:33
Speaker 2: the room that never happened.
12:34
Speaker 3: You know.
12:35
Speaker 2: It's just like the entire time while I was watching it,
12:37
Speaker 2: I was like, this guy is an asshole. Yes, you
12:41
Speaker 2: know what, I'm not rooting for him in the least.
12:45
Speaker 2: And then you find out that it's not even real,
12:49
Speaker 2: you know, like you feel it felt almost like a betrayal.
12:52
Speaker 2: And I'm not don't take me too seriously with that, Like,
12:55
Speaker 2: don't take me too literally with it. But you know
12:58
Speaker 2: when you watch something, when you watch a biopic and
13:00
Speaker 2: the person as a jerk, you try to feel like, okay, well,
13:04
Speaker 2: you know, like if they were a jerk in real life,
13:06
Speaker 2: you try to see the tortured artist behind it, Like
13:08
Speaker 2: if you're watching Pollock or something or if you're watching
13:11
Speaker 2: you know, like Walk the Line. And I know a
13:13
Speaker 2: lot of people have a lot of issues with Walk
13:14
Speaker 2: the Line. Don't don't start, but you know, like you know,
13:17
Speaker 2: like with like with Johnny Cash and Walk the Line,
13:19
Speaker 2: like you could still see him as a good person
13:22
Speaker 2: struggling or someone who had addiction or someone who is
13:25
Speaker 2: who is trying to be a good person. But at
13:27
Speaker 2: the same time he cheated on his wife, he did drugs,
13:30
Speaker 2: you know, like he was just he was just a
13:32
Speaker 2: bad person. Who was you know who crawled out of
13:35
Speaker 2: it with The Doors the movie The Doors, You're like,
13:39
Speaker 2: this guy was a jerk from beginning to end, and
13:42
Speaker 2: then you find out that that's not really him, and
13:44
Speaker 2: I'm like, who was he then?
13:47
Speaker 1: Right? And so that that sort of springboards in Darren,
13:50
Speaker 1: you know, understanding that Stone is trying to do some
13:53
Speaker 1: sort of myth building here, some sort of Morrison as shaman,
13:59
Speaker 1: as mystic goal figure who was a guide for a
14:02
Speaker 1: generation during a tumultuous time. Did anything like that come
14:06
Speaker 1: across to you. Did you see any specialness about Morrison
14:10
Speaker 1: that explained why he resonated for decades after his death?
14:16
Speaker 1: Was there anything that made you look at that and say,
14:19
Speaker 1: even if this isn't really what happened, I understand the
14:24
Speaker 1: importance of a person like Morrison or why we would
14:26
Speaker 1: lionize him.
14:28
Speaker 4: Yeah, because what I tried to focus on were the songs,
14:35
Speaker 4: because those they're real songs, like that's the actual lyric, Like,
14:38
Speaker 4: the lyrics weren't changed. So I even if the you know,
14:44
Speaker 4: I'm sure there's a little bit of leeway in the
14:47
Speaker 4: creation of the song, but for the most part, I
14:50
Speaker 4: assume that a lot of you know, the things going
14:52
Speaker 4: into at least the recording sessions and things like that,
14:55
Speaker 4: were semi factual.
14:58
Speaker 2: Again, who knows the TV thing was real?
15:02
Speaker 1: No, the TV thing throwing no, according to it in
15:05
Speaker 1: Robbie In Robbie was in Robbie Krieger's own autobiography, which
15:11
Speaker 1: I read for the first time recently, he said, Jim
15:16
Speaker 1: never threw a TV like that, Like he was he
15:18
Speaker 1: was upset and disappointed, but he never did anything like that.
15:21
Speaker 1: And the important thing to remember, and the whole reason
15:22
Speaker 1: I'm asking those questions about, do you see anything to
15:24
Speaker 1: lionize is the biggest criticism from people who knew Morrison
15:29
Speaker 1: in this film, And this is the thing that I
15:31
Speaker 1: struggle with with the film, right is you're seeing a
15:35
Speaker 1: personification of the caricature of Morrison that they that the
15:38
Speaker 1: band themselves called Jimbo, which was when Morrison was fully
15:43
Speaker 1: in his alcoholism, when he was completely gone, he was
15:47
Speaker 1: not the same person anymore. He was a person they
15:50
Speaker 1: hated being around. They lost recording sessions, They Densmore would
15:54
Speaker 1: quit the band regularly, and man Xeric would talk him
15:57
Speaker 1: back in all of that sort of stuff, because Jimbo
16:00
Speaker 1: was a terrible person. But jim the sober or just
16:04
Speaker 1: a few drinks, Morrison was a decent person. Was the
16:08
Speaker 1: type of person where you're like, oh, okay, so, I mean,
16:12
Speaker 1: I think the thing that the film and Tristan you
16:14
Speaker 1: call this out you take Ray right, you talk about
16:18
Speaker 1: walk the line, but then you look at Ray and
16:20
Speaker 1: it at least sets up this tragic incident from his youth,
16:24
Speaker 1: so that when he behaves like a terrible person later,
16:27
Speaker 1: you think, well, how must this change a person that
16:30
Speaker 1: they see their brother die, like, you know, and feel
16:34
Speaker 1: somewhat responsible and go blind because like that's always playing
16:38
Speaker 1: in your brain. Whereas Stone has this made up story
16:42
Speaker 1: that I mean, Morrison spouted it out, but he was
16:47
Speaker 1: I argue joking that a spirit ran out and jumped
16:50
Speaker 1: into his soul and turned him into a shaman sort
16:53
Speaker 1: of thing. But I think that's just Mary prankster sort
16:55
Speaker 1: of stuff. And so I think that the thing that
16:58
Speaker 1: is difficult about the film is it's Stone's treatise on
17:04
Speaker 1: why this magical person who meant so much should be
17:10
Speaker 1: given the leeway to behave the way that he was.
17:13
Speaker 1: And that's sort of where I'm saying that's where the
17:16
Speaker 1: film falls down, is it never presents the morrison that
17:20
Speaker 1: would permit you to understand why he was lost to drink.
17:24
Speaker 1: Something happened somewhere along the way that made him turn
17:27
Speaker 1: to drink. There was some sort of alienation, there was
17:30
Speaker 1: some sort of loneliness. There was actually a summer where
17:33
Speaker 1: he ate acid and lost all of his weight and
17:36
Speaker 1: became a sex symbol. But anyway, again I'm trying to
17:40
Speaker 1: keep myself from going off the rails here, and technically speaking,
17:45
Speaker 1: I think the film hits a halfway point. And Tristan,
17:48
Speaker 1: I always pick on you because of the editing stuff,
17:51
Speaker 1: but I said this to you while you were live texting,
17:54
Speaker 1: and Darren, I want to get your take on this
17:56
Speaker 1: as well. I feel that the editing changes, like it
18:00
Speaker 1: gets a different vibe about halfway through. It goes from
18:03
Speaker 1: this sort of like dream state abstract, what the hell
18:06
Speaker 1: is going on? To a more linear style about half
18:08
Speaker 1: like it suddenly changed. There's like a gearshift that happens,
18:11
Speaker 1: and suddenly it comes together and has a little bit
18:14
Speaker 1: more storytelling aspect to it. That's my opinion. Do you
18:18
Speaker 1: get that same sense, Tristan.
18:20
Speaker 2: Well, yeah, yeah, you kind of you took the words
18:22
Speaker 2: right out of my mouth, like that's what I was
18:23
Speaker 2: going to say, Like when you texted me that, like
18:25
Speaker 2: I paid attention. I was like, that's absolutely what it is.
18:29
Speaker 2: It's like you you feel this sense of experimentation with it,
18:36
Speaker 2: where you you feel the.
18:39
Speaker 3: The the camera is is moving a whole lot more.
18:43
Speaker 3: It's it's it's more floaty, for lack of a better term,
18:46
Speaker 3: it's you feel like there's much more. There's more dissolves.
18:50
Speaker 3: Even the color palette is different, and like you see
18:54
Speaker 3: more reds and oranges and and more earth tones more
18:58
Speaker 3: like kind of fire and earth and everything like that.
19:00
Speaker 3: And then once we we kind of see the downfall
19:03
Speaker 3: of Morrison instead of the experimentation and Rise, we we
19:08
Speaker 3: see much more straight cuts and straight linear like you know,
19:12
Speaker 3: but that's kind of stretching the term linear because we
19:14
Speaker 3: still see things in a like in a concert that
19:18
Speaker 3: didn't really happen, like with the bonfires and then and
19:21
Speaker 3: the naked women and like the you know, literal death
19:24
Speaker 3: walking around as a bald man, you know, things.
19:27
Speaker 2: Like that, Like you still get the abstract in it,
19:30
Speaker 2: but yet the filmmaking definitely changes, and it feels like
19:35
Speaker 2: Stone was trying to tell us that, you know, like
19:38
Speaker 2: with the Rise, you see you know, he's taking acid
19:42
Speaker 2: to expand his mind, like we even we even kind
19:44
Speaker 2: of have that from the from the Drummer, I think
19:47
Speaker 2: I think the drummer, I think it was either Densmore Kreaker,
19:52
Speaker 2: I can't remember who was saying like, you know, like
19:54
Speaker 2: we took we took acid to expand our mind.
19:57
Speaker 1: Yeah that he he says that when he gets mad
19:59
Speaker 1: at Morrison trying to pressure him into taking acid before
20:01
Speaker 1: the infamous Miami show.
20:03
Speaker 2: Yeah yeah, yeah, he said something like we took it
20:05
Speaker 2: to expander mind, not to like yeah just take it
20:09
Speaker 2: or get off yeah yeah, yeah, just not to get
20:11
Speaker 2: high or something like that. And so I think that's
20:13
Speaker 2: kind of the difference that I think that's what Stone
20:15
Speaker 2: was trying to communicate, is that the first half is,
20:18
Speaker 2: like you, it's like an acid trip, like that's where
20:20
Speaker 2: you get the camera movement, and then the next the
20:22
Speaker 2: next half is the addiction and so it's just straightforward
20:26
Speaker 2: cutting and cold.
20:29
Speaker 1: Mm hmm. Now, Darren, given that, do you have a
20:34
Speaker 1: part of the film that works better, like, does the
20:36
Speaker 1: first half work better for you? Does the second half
20:39
Speaker 1: work better for you? Or do you think it just
20:41
Speaker 1: winds up being a mess, like it's a movie that
20:44
Speaker 1: doesn't figure out its identity until halfway through.
20:48
Speaker 4: Uh No, I definitely like the first half better the rise,
20:51
Speaker 4: I guess the rising action, you know, because I think
20:56
Speaker 4: of you know, if this was an autobiography, just the
21:01
Speaker 4: fact that it's a film, that it's a biopic. Stone
21:06
Speaker 4: really gets to play with the canvas of film in
21:10
Speaker 4: this in in how you're looking at things angles and
21:14
Speaker 4: lighting and and I think you just can't convey that
21:19
Speaker 4: in the written word as strongly or or you can,
21:22
Speaker 4: but you're not going to get the same response depending
21:25
Speaker 4: on the reader. So yeah, in the beginning, I really
21:29
Speaker 4: like how he's slowly, you know, creating this character, because
21:33
Speaker 4: it's a character really, you know, and like I think
21:36
Speaker 4: of the very very beginning, when you know, he's driving
21:39
Speaker 4: past the the Indian and the car on the side
21:45
Speaker 4: of the road, and then later I'm like, wait, were
21:48
Speaker 4: we the boy in the car driving by? Or were
21:51
Speaker 4: we on the side of the road being driven by?
21:54
Speaker 4: Like you start to doubt, like what is real and
21:57
Speaker 4: what has happened and what is truth? Which I think
21:59
Speaker 4: is the point that you're supposed to not be one
22:02
Speaker 4: hundred percent sure. So yeahs as it starts to slide
22:07
Speaker 4: more into the you know, being more historical rather than
22:13
Speaker 4: sensing what is going on in the mind of this artist,
22:17
Speaker 4: you know, I definitely prefer the front half.
22:20
Speaker 1: You mentioned building a character, and so I'll toss it
22:24
Speaker 1: right back to you and say, Val Kilmer earned a
22:28
Speaker 1: lot of praise for his portrayal of Morrison, some criticism
22:33
Speaker 1: as well, but in terms of performance overall, to divorce
22:37
Speaker 1: it from the historical accuracy, does Kilmer inhabit and become
22:41
Speaker 1: a different person for you or do you see Val
22:44
Speaker 1: Kilmer indicating a person for you? Do you lose Val
22:47
Speaker 1: Kilmer in this performance?
22:48
Speaker 4: I completely lose val Kilmer in this performance. There the
22:53
Speaker 4: way his voices Meg Ryan too, like it's early nineties Meg,
22:58
Speaker 4: so it's a little easier. But I kept forgetting that
23:02
Speaker 4: she was that character, that she was his girlfriend, Pamela.
23:07
Speaker 4: Both of them, I think, sunk completely into their characters,
23:11
Speaker 4: and either it'd be like whiffs of moments where like
23:15
Speaker 4: I'd see his profile or like, you know, Kilmer has
23:17
Speaker 4: a very distinctive like nose and face that it would
23:20
Speaker 4: kind of pop out for a moment. But yeah, it
23:24
Speaker 4: was just it was I felt like I was a
23:26
Speaker 4: camera or a fly on the wall, and so I yeah,
23:30
Speaker 4: I would definitely be in the giving high praise camp
23:33
Speaker 4: for his performance. And I had read that a lot
23:36
Speaker 4: of the bandmates had said in his singing that often
23:40
Speaker 4: when listening to tracks from the you know, original recorded
23:44
Speaker 4: tracks from the film versus you know, the previous work,
23:49
Speaker 4: the original work, that it was hard for them to
23:51
Speaker 4: tell just that he really conveyed not just the tone
23:57
Speaker 4: but also the sound of Morrison.
24:00
Speaker 1: Same question to you, Tristan, do you lose Kilmer in
24:03
Speaker 1: this role? Do you think that this is one of
24:04
Speaker 1: Kilmer's great performances.
24:06
Speaker 2: Absolutely, I'm a big Kilmer fan. I really am, like,
24:10
Speaker 2: unabashedly big Val Kilmer fan, Like, if he's in it,
24:14
Speaker 2: I'll give it a shot. And I thought he made
24:17
Speaker 2: a great Batman. I don't care who knows it, you know.
24:20
Speaker 1: And we can table that for House of Schumacher.
24:24
Speaker 2: So yeah, I echo it exactly what Darren said, like,
24:28
Speaker 2: he is absolutely lost in this, regardless of whether or
24:31
Speaker 2: not it's accurate. He is lost in the role of
24:35
Speaker 2: Jim Morrison, of the fictional account of Jim Morrison. Yeah,
24:39
Speaker 2: the way he moves his body, the way he speaks.
24:42
Speaker 2: And Kilmer himself, you know, like he's he's a literal poet,
24:46
Speaker 2: and you know, is kind of out there or was
24:51
Speaker 2: out there like Morrison, And so I think there was
24:54
Speaker 2: definitely some kindred spirit going on, which I think helped
24:57
Speaker 2: his performance undoubtedly.
25:00
Speaker 1: And part of his performance is supposed to evoke an era.
25:05
Speaker 1: Right the late sixties and then very beginning of the seventies.
25:10
Speaker 1: Things are very very fluid, very changing, very chaotic in
25:14
Speaker 1: American culture at the time, especially in pop culture. And
25:19
Speaker 1: so you know, I'll toss it right back to you, Tristan.
25:21
Speaker 1: The film is also supposed to evoke an era. It's
25:25
Speaker 1: supposed to in a sense be Stone and he goes
25:30
Speaker 1: through like the sixties or his thing for a time.
25:32
Speaker 1: You know, you have Platoon, you have the doors, you
25:34
Speaker 1: have born on the fourth of July, you have JFK,
25:37
Speaker 1: you have heaven and hell. You have all of these things.
25:40
Speaker 1: Where Stone is very much thinking about the sixties and
25:45
Speaker 1: I in terms of evoking an era, did you feel
25:49
Speaker 1: you had a better understanding of the sick the late
25:52
Speaker 1: sixties early seventies as an era after this film? Do
25:56
Speaker 1: you think that its successfully conveyed to you what it
25:58
Speaker 1: was like to be alive during that time.
26:01
Speaker 2: No, not at all. I think, uh, you know, like
26:06
Speaker 2: they have the you know, they have him performing on man,
26:11
Speaker 2: I was really hoping to to to. I can't think
26:14
Speaker 2: of his name.
26:17
Speaker 1: Ed Sullivan, Thank you cheese.
26:22
Speaker 2: Show like yeah, man, speaking of Ed Sullivan, Like they
26:28
Speaker 2: made him look like a straight up monster, like the
26:32
Speaker 2: prosthetics that they put on that guy.
26:34
Speaker 1: Yeah yeah. Just to qualify I, I I agree with
26:37
Speaker 1: Tristan here. They didn't make him look like a monster
26:39
Speaker 1: in terms of his personality. The makeup made him look
26:42
Speaker 1: like Boris Karloff playing Frankenstein, is what Tristan is trying
26:46
Speaker 1: to say.
26:46
Speaker 2: Like a literal monster, like like he he looks like
26:50
Speaker 2: he belongs in a monster film. Yes, he does. He's
26:54
Speaker 2: just like you know, like you look at something like, uh,
26:57
Speaker 2: never mind, I'm not even go down that road. I
26:59
Speaker 2: was thinking about like what they did in Rogue on
27:01
Speaker 2: with the guy with the actor from Target, with Peter Kush. Yeah, yeah,
27:05
Speaker 2: with Peter Cushing and everything like that. Like you know,
27:07
Speaker 2: like Peter Cushing has those crazy features that are hard
27:10
Speaker 2: to reproduce, but the people at Luca's film reproduce them
27:14
Speaker 2: without making him look like like a burn victim, like
27:18
Speaker 2: it went through reconstruction surgery. Yes, anyway, like you have
27:24
Speaker 2: stuff like the Ed Sullivan Show, you have stuff like
27:27
Speaker 2: you know, his performances, and you have stuff like the
27:31
Speaker 2: like the acid trips and things like that, like a
27:33
Speaker 2: very stereotypical sixties of the time. And you know the
27:37
Speaker 2: old phrase, if you remember the sixties, you weren't really there,
27:41
Speaker 2: you know, like you have those moments. But this film
27:45
Speaker 2: didn't make me think about the sixties in the same
27:48
Speaker 2: way that Malcolm X did.
27:50
Speaker 1: Fair. That's a very there's a very fair thing now now, Darren,
27:53
Speaker 1: I think Tristan is hitting on something important here and
27:55
Speaker 1: actually criticism that was leveled against Stone by I think
27:59
Speaker 1: one of the band member, even Stone was in Vietnam
28:03
Speaker 1: when he first heard the doors, and the doors were
28:06
Speaker 1: very important to people in Vietnam, you know, who were
28:08
Speaker 1: serving in Vietnam from the United States. Do you think,
28:13
Speaker 1: following on Tristan's point there, do you get the feeling
28:17
Speaker 1: that Oliver Stone himself didn't understand American culture of the
28:22
Speaker 1: nineteen sixties because he wasn't a participant, and this is
28:25
Speaker 1: more of a reflection of what he thinks the sixties were,
28:30
Speaker 1: the same way that you or I would read a
28:31
Speaker 1: book and think that's what the sixties were about.
28:35
Speaker 4: Yeah, I can see a little bit of that. I mean,
28:37
Speaker 4: it's like with the eighties where people say, dress up
28:40
Speaker 4: for an eighties party and they're wearing like all these bright,
28:43
Speaker 4: zazzy colors, and you're like, did you forget beige? Because
28:46
Speaker 4: there was a lot of beige in the eighties, like
28:49
Speaker 4: a lot of tan, right brown. So yeah, it's the
28:54
Speaker 4: you know, the stereotypical versus the kind of selected memory
28:58
Speaker 4: of the decade, you know, or basically it's the distilled
29:03
Speaker 4: down to a Halloween costume stereotype, like right, we all
29:08
Speaker 4: have a Halloween costume for a decade that is not
29:12
Speaker 4: really true when you think of sixties or seventies or eighties,
29:16
Speaker 4: and it kind of does have that reflect I mean,
29:18
Speaker 4: I can't speak to him not being there and his
29:21
Speaker 4: exact you know, you could ask somebody be like, hey,
29:24
Speaker 4: what was it like, you know, before I commit this film.
29:27
Speaker 4: But yeah, it's so in the sixties. So interesting because
29:31
Speaker 4: I mean I've seen a great bio story from the
29:36
Speaker 4: Ears to the Moon that's set for the vast majority
29:39
Speaker 4: of it in the sixties as we're leading up to
29:41
Speaker 4: landing on the Moon, and that is a very different
29:44
Speaker 4: type of story, but trying to be more you know,
29:47
Speaker 4: historically accurate on that era and the tumulsionousts that's going on.
29:52
Speaker 4: So yeah, it I think, like you said in the beginning, though,
29:56
Speaker 4: at its core, it's a story and it's a character.
30:00
Speaker 4: If you start there, it makes a lot more sense
30:03
Speaker 4: then you know, it just happens to be about a
30:06
Speaker 4: historical picture, a historical figure.
30:09
Speaker 3: Mm hm.
30:10
Speaker 1: So you know, one of the things that I think
30:13
Speaker 1: is interesting about the film is with this evoking of
30:18
Speaker 1: an era, it's the first time I think that I
30:22
Speaker 1: really as you know, a younger man, really paid attention
30:26
Speaker 1: to things like lighting and shot composition without even really
30:29
Speaker 1: realizing I was doing it at the time. And of
30:32
Speaker 1: course the you know, there is a legendary cinematographer at
30:36
Speaker 1: work here, and so Tristan I wanted to actually throw
30:40
Speaker 1: over to you. Evoking an era is one thing, and
30:44
Speaker 1: building a visual style is another. When you look at
30:48
Speaker 1: this film, just looking at it, simply in terms of
30:51
Speaker 1: the way it's photographed, do you see are you transported?
30:55
Speaker 2: Basically?
30:57
Speaker 1: Like, is there is there? Is there something where you
30:59
Speaker 1: could turn off the sound and enjoy it? Is there's
31:03
Speaker 1: like take me through how you reacted to the cinematography
31:06
Speaker 1: of everything.
31:08
Speaker 2: Well, the cinematographer is Robert Richardson, who is also known
31:12
Speaker 2: as Tarantino's cinematographer. Oh y, yes, he's also done some
31:18
Speaker 2: work for Scorsese. So this guy, you know, he knows
31:21
Speaker 2: what he's doing, like he's he's pretty good. He's most
31:24
Speaker 2: known for Kill Bill and Gloria's Bastards, Once upon a
31:27
Speaker 2: Time in Hollywood, the Aviator, all of those wonderfully photographed,
31:32
Speaker 2: and so this guy knows what he's doing, and it's
31:36
Speaker 2: really interesting to see Richardson work and it's really funny
31:42
Speaker 2: that we're talking about him right now because just yesterday,
31:45
Speaker 2: yesterday I made a Richardson joke because I reconnected with
31:51
Speaker 2: an old friend of mine who is a cinematographer, and
31:54
Speaker 2: I haven't seen him in years, years and years, and
31:57
Speaker 2: he has hair passed his ankle past his ankles past
32:00
Speaker 2: his shoulders now, and I said, I was like, man,
32:04
Speaker 2: if you went gray, you'd be able to charge more
32:07
Speaker 2: as a cinematographer. And he knew I was talking about
32:10
Speaker 2: Robert Richardson, and and so yeah, it's just you know,
32:15
Speaker 2: like for people who love movies, whether you know his
32:18
Speaker 2: name or not, you know his work. And so the Doors,
32:21
Speaker 2: I think that's probably the most special thing about The
32:24
Speaker 2: Doors is how it's photographed. Don't get me started on
32:28
Speaker 2: the editing or like from a macro micro concept. Oh,
32:33
Speaker 2: but Robert Richardson is a visual master in a true
32:38
Speaker 2: sense of the word. And The Doors is sumptuous. And
32:43
Speaker 2: I think that's that's probably the highest, the highest praise
32:47
Speaker 2: I can give this movie.
32:48
Speaker 1: But I can't walk away from you taking a pot
32:50
Speaker 1: shot at the editing because we've already talked about how
32:53
Speaker 1: the editing changes between the first and the second half
32:56
Speaker 1: of the film. I have my own pet theory about that,
32:59
Speaker 1: but I have never been able to confirm it. But
33:02
Speaker 1: I want to lean into that with you because I
33:04
Speaker 1: love these discussions with you. I think Darren, you do
33:07
Speaker 1: as well. Where Tristan take me through it? What issues
33:13
Speaker 1: do you have with the editing, either macro or micro
33:17
Speaker 1: Where the where does it fall down? Where does it succeed?
33:23
Speaker 2: So the editors of this Davinner.
33:29
Speaker 1: At at ten minutes and one second, what's your impression
33:35
Speaker 1: of the editing of this film?
33:38
Speaker 2: That's the thing?
33:39
Speaker 4: Is that?
33:39
Speaker 2: Okay? So this was edited by David Brenner and Joe Hutching.
33:44
Speaker 2: I don't know if I'm saying.
33:45
Speaker 1: That right, with some additional work by the legendary Patro
33:48
Speaker 1: Scalia or I may maybe mispronouncing his last name Scalia
33:53
Speaker 1: Scalia who later worked with Stone on JFK Well, which
33:57
Speaker 1: was released on the same year. But there's an addition
34:00
Speaker 1: editing credit the same way in Rogue One. It's like
34:03
Speaker 1: additional editing by Stuart Baird, Right, it's just snuck in
34:07
Speaker 1: there sort of thing. You have a feeling that that
34:09
Speaker 1: somebody came in to do some doctor work at the
34:11
Speaker 1: end there. But I'm sorry to interrupt, Go ahead, take
34:15
Speaker 1: us through.
34:16
Speaker 2: Well, no, I'm glad that you brought that up because
34:17
Speaker 2: I was unaware of that. But that makes sense to
34:20
Speaker 2: me because Brenner and Hutching they know what they're doing.
34:26
Speaker 2: They absolutely know what they are doing. They are good editors,
34:30
Speaker 2: and from scene to scene the movie is well edited,
34:34
Speaker 2: like it's it makes sense, like you know where you
34:36
Speaker 2: are geographically, Like they don't cross the line unless it's
34:41
Speaker 2: from an artistic perspective. You know, they follow the rules
34:44
Speaker 2: and then they break them when they need to. Like,
34:47
Speaker 2: these guys know what they're doing. It's a well edited
34:49
Speaker 2: film when you look at it from the theory of editing,
34:52
Speaker 2: but when you look at it from a macro perspective,
34:55
Speaker 2: I blame Stone one hundred percent. And you telling me
34:59
Speaker 2: that there is additional editing makes me feel like Brennan
35:03
Speaker 2: and Hutching did their jobs edited the piece, and then
35:06
Speaker 2: Stone's like, no, I want to do something different, and
35:09
Speaker 2: then he brings somebody in to doctor it up, and
35:11
Speaker 2: then that's what we get in the theatrical version. And
35:15
Speaker 2: to me, watching this movie was exhausting because there were
35:21
Speaker 2: so many scenes where I'm like, good lord, this is
35:24
Speaker 2: still going on. We're still here. Oh, we're still in
35:29
Speaker 2: this concert? Am I watching a movie anymore? Or am
35:32
Speaker 2: I watching a concert film? And I think that's what
35:35
Speaker 2: really pissed me off, because I kept rolling my eyes
35:38
Speaker 2: as the movie progressed. I felt like the movie was
35:41
Speaker 2: getting worse from an editing perspective, where I'm just like,
35:45
Speaker 2: trim it down, and this movie isn't really that long,
35:48
Speaker 2: Like we're gonna we haven't even gotten to the long stuff,
35:50
Speaker 2: folks like we're gonna review JFK. Nixon, Alexander all super
35:57
Speaker 2: long movies like The Doors. I think is the short film,
36:01
Speaker 2: but it feels so long.
36:06
Speaker 1: Okay, Darren, do you fall in camp Tristan? Here are
36:09
Speaker 1: you tem Tristan? In terms of the editing, did you
36:12
Speaker 1: feel every minute of The Doors or did it zip
36:15
Speaker 1: by and was over before you knew it?
36:19
Speaker 4: I don't. I didn't feel that the overall film was long,
36:24
Speaker 4: but I do agree it felt like the segments were long,
36:28
Speaker 4: so I didn't feel like why by the time I
36:30
Speaker 4: was at the end, I'm like, oh my gosh, this
36:31
Speaker 4: whole movie, But it was like, yeah, it's like we're
36:33
Speaker 4: in the concert forever, and then you know, we're over here,
36:38
Speaker 4: you know, and over there, and I think because again
36:42
Speaker 4: not knowing a lot about any of it, about the doors,
36:46
Speaker 4: about the so I'm just absorbing it all for the
36:49
Speaker 4: first time, like, oh, and then they did this, and
36:51
Speaker 4: then they did this, and then how many years are
36:53
Speaker 4: we jumping? And who's that guy walking away from the
36:56
Speaker 4: bathsub at the end? Is that death?
36:58
Speaker 2: I don't know?
36:58
Speaker 4: Is that? Do that really happens? Really a person? So
37:01
Speaker 4: I'm trying to just what is happening, you know, not
37:04
Speaker 4: in a bad way, but just trying to understand it. So, yeah,
37:08
Speaker 4: it it is interesting in a biopic, you know, because
37:13
Speaker 4: obviously you're you're condensing a man's life down tremendously into
37:17
Speaker 4: a matter of hours. So what what moments do you
37:20
Speaker 4: pick from that? Where do you pull the essence of
37:23
Speaker 4: that person? I mean, especially someone who passed away so
37:28
Speaker 4: young at what twenty seven? I think it was so
37:32
Speaker 4: but obviously you're you're picking you know, these moments of
37:36
Speaker 4: grandeur and of you know, turning point, you know, climbing
37:40
Speaker 4: a tree and meeting the future love of your life. Again,
37:44
Speaker 4: all I can say is I'm basing this off of
37:45
Speaker 4: the movie because I don't know what is real and
37:48
Speaker 4: what is not. So that's all I'm reacting to. But yeah,
37:52
Speaker 4: so it I don't know exactly where you would cut
37:55
Speaker 4: it because it's not like, oh, well, this whole subplot
38:00
Speaker 4: here were really subplots. It was just the plot.
38:04
Speaker 1: So plot is a generous word. I think it's it's
38:08
Speaker 1: more of a it's a series of events. Like I
38:11
Speaker 1: think that the coming at it from an, you know,
38:15
Speaker 1: an older man's perspective and not the starry eyed teenager.
38:19
Speaker 1: I can tell you I saw this film, I think
38:21
Speaker 1: twice in the same day, Like I was so jazzed
38:25
Speaker 1: and the music, like it's it's weird to convey because
38:30
Speaker 1: I adored this film when I was a teenager. I
38:33
Speaker 1: thought it was the Bee's Knees. I thought it was great.
38:37
Speaker 1: I was very much in Campstone of like, hey, he's
38:41
Speaker 1: a shaman, he's got a spirit, he's amazing, he's the
38:45
Speaker 1: voice of everyone. You gotta cut this guy slack, who
38:49
Speaker 1: cares if he was a monster, all of this sort
38:52
Speaker 1: of stuff. It didn't matter to me that I didn't
38:54
Speaker 1: see a human being there. It All that mattered to
38:57
Speaker 1: me was that there was the music, There was the
39:01
Speaker 1: lionization of Morrison, and he had permission to do whatever
39:05
Speaker 1: he wanted to do. Now, obviously, when you're no longer
39:07
Speaker 1: a teenager and you get a little more perspective, you realize, oh,
39:12
Speaker 1: he's actually a bad person the way he's portrayed in
39:14
Speaker 1: this film. Oh, I see that. But the music is
39:19
Speaker 1: very key to this and it's what would have resonated
39:22
Speaker 1: with me as a teenager. It was basically like a
39:25
Speaker 1: two and a half hour music video for me, because
39:27
Speaker 1: it's like, yes, this is the music I love and
39:30
Speaker 1: it was a cheap way to get my emotional reaction. Darren,
39:35
Speaker 1: is the use of music successful? Do you think that
39:38
Speaker 1: the soundtrack of this film? Does it help the flow?
39:42
Speaker 1: Does it help you forgive some of those editing mistakes?
39:45
Speaker 1: Like basically, is the soundtrack a cheat for you to
39:50
Speaker 1: get to the end and then look back and say, oh, wait,
39:52
Speaker 1: I had these problems with the film? Or were you
39:55
Speaker 1: did it not razzle dazzle you? Like, did you lose
39:59
Speaker 1: yourself in the muse? Was it a big music video
40:02
Speaker 1: or was it just periphery?
40:06
Speaker 4: Yeah, I'm trying to compare it to like other biopics
40:10
Speaker 4: about like musicians and bands and stuff. I mean, if
40:15
Speaker 4: you compare it to like spinal Tap.
40:17
Speaker 1: It's really uh, I know, that's strangely apt. That's all
40:23
Speaker 1: I'm going to say is it's strangely apt.
40:25
Speaker 4: But no, yeah, it I mean, yeah. The musical sequences
40:29
Speaker 4: are amazing. They're like one of the best parts, Like
40:31
Speaker 4: when he's you know, got the mic AND's crooning in
40:34
Speaker 4: the corner and you're just feeling like they establish this
40:39
Speaker 4: vibe of these moments of like musical history is happening,
40:43
Speaker 4: Like it feels like that. It feels that vibe and energy.
40:47
Speaker 4: But does it forgive the sins of the entire film?
40:51
Speaker 4: Not particularly because I could just you know, put in
40:54
Speaker 4: a CD or download the track and listen to just
40:57
Speaker 4: the actual song like that. I don't have to see
41:01
Speaker 4: this movie to enjoy The Doors. It does it enhance
41:04
Speaker 4: my enjoyment of The Doors? I would say less so
41:10
Speaker 4: now knowing how inaccurate it is. If it was more accurate,
41:14
Speaker 4: I think it would be more of an interesting aspect.
41:18
Speaker 4: But it's feeling like it's practically fantasy and and for
41:23
Speaker 4: that then I would just I pivot to Kilmer's performance,
41:27
Speaker 4: which I think is amazing for what he delivered historical
41:31
Speaker 4: part aside, I think it's great. So I feel I
41:34
Speaker 4: feel like that's my final my final thoughts here at
41:37
Speaker 4: the beginning.
41:37
Speaker 2: But but no, that's that's pretty solid there.
41:40
Speaker 1: Yeah, very very very solid. And also, uh, if you
41:44
Speaker 1: have Spotify, I'm going to help you out here and
41:46
Speaker 1: I'm gonna give you the ultimate playlist for you, just
41:48
Speaker 1: so you know. Tristan, the same sort of question to you, okay,
41:54
Speaker 1: is in terms of the music, do you think that
41:57
Speaker 1: the music is able to paper over some of those
41:59
Speaker 1: editing and or structural issues that you detect or was
42:05
Speaker 1: it Did you sense it as a cheat? Did you
42:08
Speaker 1: sense it as Stone trying to use the music to
42:13
Speaker 1: to distract you from the shortcomings of the film.
42:16
Speaker 2: I think that's a solid question. I personally found it
42:20
Speaker 2: as a cheat because of what I referenced earlier with
42:25
Speaker 2: the editing, where I'm like, good lord, we're still here.
42:28
Speaker 2: It felt like wallpaper. Even though it was well shot,
42:32
Speaker 2: even though it's really cool, you know, seeing the doors
42:36
Speaker 2: music quote unquote live, you know, even though it's really
42:39
Speaker 2: great that we're seeing a concert, it felt like wallpaper,
42:41
Speaker 2: Like we're not getting a plot here, we're not getting
42:44
Speaker 2: a story, we're not getting any insight into Jim Morrison's
42:49
Speaker 2: psyche or his history or the way he thinks or
42:52
Speaker 2: why he does what he does where you know what
42:55
Speaker 2: I'm that's kind of my review of the film. It's wallpaper.
42:59
Speaker 2: There's it's a covering, it's a it's a sheath, it's
43:03
Speaker 2: it's veneer. It's it's style over substance. It's it's something
43:09
Speaker 2: that looks really cool and you can vibe out to.
43:14
Speaker 2: But there's no meat on the bone, you know.
43:16
Speaker 1: I I think I think that both of you have
43:19
Speaker 1: said some some very fair things, uh. And I think
43:22
Speaker 1: that the difficulty that we're having with some of the
43:28
Speaker 1: parts of this, with the way it's constructed and everything,
43:31
Speaker 1: could have been alleviated, and that this is where we
43:34
Speaker 1: all know. I love to sort of like go back
43:37
Speaker 1: to the writer's room and be like, Okay, look, here's
43:39
Speaker 1: what we're really going to do. I think this film
43:41
Speaker 1: would have benefited because you both have talked about the
43:44
Speaker 1: concert sequences would have really benefited from it instead of
43:47
Speaker 1: the way that it's constructed being basically the Miami concert
43:52
Speaker 1: quote unquote the most controversial moment endoors history and having
43:57
Speaker 1: flashbacks during it, right, and and that way you can
44:00
Speaker 1: creaming device for the right Hire movie, and so you
44:03
Speaker 1: can have the more abstract sort of stuff happening as
44:08
Speaker 1: inserts of flashes of the band members, of Morrison, of
44:12
Speaker 1: his hangers on, of people in the of whoever you
44:16
Speaker 1: want it to be. So basically the whole thing feels
44:19
Speaker 1: like you're at the Miami concert. You're seeing flashes of
44:23
Speaker 1: how they came together. And then the wrap up at
44:27
Speaker 1: the end is Morrison going off to Paris and basically
44:31
Speaker 1: using this as the point of attack, the inciting incident,
44:35
Speaker 1: instead of him walking into the recording studio for the
44:39
Speaker 1: sessions that would eventually become the album in American Prayer,
44:43
Speaker 1: which was released posthumously. But that's just me speaking on
44:49
Speaker 1: that sort of level, and that in and of itself
44:52
Speaker 1: is sort of a cheat because I think Tristan, you
44:55
Speaker 1: say a very fair thing about how it's wallpaper, it's
44:58
Speaker 1: a beautiful vibe, and Darren, I think you've also sort
45:01
Speaker 1: of hit on that same sort of thing with it,
45:04
Speaker 1: and so you know, I'll toss this, I guess. Quasi
45:08
Speaker 1: final question over to you is we've talked about, is
45:12
Speaker 1: there anything in this that makes you want to be
45:14
Speaker 1: a Doors fan, that makes you understand why it was
45:16
Speaker 1: so exciting to have a movie about the doors. We've
45:19
Speaker 1: covered that territory up to this point. But my question
45:25
Speaker 1: to you is, in terms of everything that's here, do
45:31
Speaker 1: you see raw material? Because we have two cuts. We
45:34
Speaker 1: have a theatrical, we have a final cut. You've seen
45:38
Speaker 1: the theatrical cut. Do you see raw material here? Where
45:43
Speaker 1: if somebody gave you a magic wand or you know
45:46
Speaker 1: the money to do it, and they said, hey, Darren,
45:48
Speaker 1: go in, go back into the editing bay and reconstruct this,
45:54
Speaker 1: do you see the raw material of an Oscar winner
45:58
Speaker 1: of a great film, of a master piece in here?
46:01
Speaker 1: Or do you think that there's just this is what
46:04
Speaker 1: you've seen is the limit of what it could ever achieve.
46:08
Speaker 4: I'd say the second, Like, honestly, it's it's an amazing
46:12
Speaker 4: what it delivers. I think is amazing that every time
46:16
Speaker 4: you have Al Kilmer, like, I mean, he is just
46:18
Speaker 4: killing it. Every every scene you can tell he's giving
46:21
Speaker 4: is all. I don't see where you can go from that,
46:24
Speaker 4: Like it doesn't feel like, oh, reframe it or re
46:28
Speaker 4: edited or change the perspective. Like what you have is
46:33
Speaker 4: kind of on the screen, it's all kind of there,
46:37
Speaker 4: but you know, rather than spending time re editing, I
46:41
Speaker 4: would just, you know, go to that Spotify playlist. I
46:44
Speaker 4: think if this gets you interested in the Doors, I
46:46
Speaker 4: think it's done its job. Regardless of Accolytes.
46:50
Speaker 1: Tristan the same question to you, do you see raw
46:53
Speaker 1: material here that could come together, coalesce differently, become more
46:58
Speaker 1: than what it is, or do you see the limits
47:01
Speaker 1: of what it could ever be?
47:04
Speaker 2: I think it definitely could be better structured. I think
47:06
Speaker 2: it could be better edited, you know, I feel like
47:10
Speaker 2: so much of it, so much of the failure is
47:14
Speaker 2: in the macro editing, but at the same time knowing
47:18
Speaker 2: how fake it is and how inaccurate it is. I mean,
47:22
Speaker 2: every biopick is inaccurate, every single one that we've ever
47:26
Speaker 2: seen is very inaccurate. But to be so blatantly false,
47:33
Speaker 2: like to not be rooted in any kind of actual
47:36
Speaker 2: history for the Doors kind of feels like you've failed
47:40
Speaker 2: before you even began. So I feel like if from
47:44
Speaker 2: a better from a from a film perspective, if you're
47:46
Speaker 2: going into it, like the Weird Awl biopic, you know
47:51
Speaker 2: where it's right off the bat, like absurd and crazy,
47:54
Speaker 2: and you know it's absurd and crazy and not rooted
47:56
Speaker 2: in truth. You can enjoy it, but when you have
48:00
Speaker 2: it present itself as something that it's not, you immediately
48:05
Speaker 2: set yourself up for failure. So I feel like it's
48:08
Speaker 2: kind of like you can re edit it all you want,
48:10
Speaker 2: and you may be able to get a better product,
48:12
Speaker 2: but I think you're I don't think you're going to
48:13
Speaker 2: get a better experience because you can't rewrite the history.
48:18
Speaker 1: Well, then this goes into final question before we get
48:22
Speaker 1: to our Lance Reddick part Darren. Names that were rumored
48:28
Speaker 1: to want to direct a Doors biopic through the years
48:32
Speaker 1: include Quentin Tarantino, Brian DePalma, Martin Scorsese and The Exorcists,
48:39
Speaker 1: William Friedkin and also he did the French Connection. Let's
48:43
Speaker 1: be fair. Do you think either one of those four
48:47
Speaker 1: directors would have delivered a different product, a more accurate
48:52
Speaker 1: and more interesting product than Stone has?
48:55
Speaker 4: Oh oh accuracy? Okay, you said different and I'm thinking, wait, well,
48:59
Speaker 4: Tarantino want a li and say the more is you're
49:02
Speaker 4: gonna get a different product.
49:03
Speaker 1: Well, Jim Morrison winds up assassinating several people. If Tarantino
49:07
Speaker 1: does it to Palma, probably the issues with women would
49:11
Speaker 1: be much more pronounced. Scorsese is a five hour movie easy,
49:15
Speaker 1: and then William Freakin. I guess he would really lean
49:18
Speaker 1: into the possession angle from the spirit of the guy
49:20
Speaker 1: who was dying on the side of the road. But
49:22
Speaker 1: you know, what do you see happening with those different directors.
49:26
Speaker 4: I mean, you give a great summary right there. I
49:29
Speaker 4: would have loved a Scorsese mini series. Give the man
49:33
Speaker 4: the time and the budget to tell an actual history
49:38
Speaker 4: with like you know, because then you're not worrying about
49:41
Speaker 4: you give him like a even like a six episode
49:44
Speaker 4: mini series. I think that would be amazing, And honestly,
49:48
Speaker 4: that's a big part of it. I mean, biopics are,
49:51
Speaker 4: like I said, it's a hard thing to distill a
49:54
Speaker 4: man's life down to a couple of hours. But sometimes
49:58
Speaker 4: you need to tell the bigger story, and that's Streaming
50:02
Speaker 4: has given us a lot of options with that with
50:04
Speaker 4: other formats besides just the you know, can't run it
50:08
Speaker 4: too long because you got to fit as many screenings
50:10
Speaker 4: as you can, and the multiplex you know, that limit
50:13
Speaker 4: is not the best.
50:15
Speaker 1: So basically, Darren is in he's in the camp calling
50:18
Speaker 1: for a Zack Snyder cut of The Doors Tristan, not
50:23
Speaker 1: at all what I said. You know, so you know,
50:26
Speaker 1: we're strapping in for a six hour cut, two different cuts,
50:30
Speaker 1: in a deal with Netflix. But yes, okay, all right,
50:36
Speaker 1: let's not go down these roads, Tristan, the four directors
50:40
Speaker 1: I threw out there, do you think a different director.
50:43
Speaker 1: Don't limit yourself to these four directors, but do you
50:47
Speaker 1: think a different director than Stone delivers a more successful,
50:52
Speaker 1: more interesting, more vibe however you want to say it,
50:58
Speaker 1: do you think a different director delivers something that you
51:00
Speaker 1: would have possibly enjoyed more or would have resonated more
51:03
Speaker 1: with you.
51:04
Speaker 2: I think to Palma, honestly, I think would have probably
51:08
Speaker 2: done a little bit more straightforward biopic. And I'm not
51:13
Speaker 2: saying that would have been more successful. You know, I
51:16
Speaker 2: can't argue that, but I think, you know, after looking
51:20
Speaker 2: at something like Scarface and Untouchables and even if you know,
51:24
Speaker 2: like even stuff that I don't necessarily like, you know,
51:27
Speaker 2: like you know, Scarface or Black Dahlia or oh God
51:33
Speaker 2: and Fatale, you know, like things like that, you know,
51:34
Speaker 2: like like he he you know, he does experimental stuff, yeah,
51:39
Speaker 2: you know, just as much as as Stone does. But
51:43
Speaker 2: I feel like he would have been a little bit
51:44
Speaker 2: more straightforward with it. I feel like he would have
51:47
Speaker 2: attacked it in a way that was more palatable to
51:51
Speaker 2: what actually happened. But I can't get I mean, you know,
51:55
Speaker 2: to Palma's just as his hit or miss as Stone is.
51:57
Speaker 2: So you know, it's a hard question. That's a hard question.
52:00
Speaker 2: But I do agree with with with Darren that I
52:04
Speaker 2: feel like Scorsese would have found an angle, you know,
52:07
Speaker 2: like I think if we could give him the time,
52:09
Speaker 2: Scorsese would have found the angle. It may not necessarily
52:13
Speaker 2: have been the right one, but he would have found
52:15
Speaker 2: an angle angle and stuck with it, and we would
52:18
Speaker 2: have gotten way deeper into the psyche with with Scorsese
52:22
Speaker 2: than we ever have with with Stone.
52:26
Speaker 1: I agree with that a Martin Scorsese, especially early nineties
52:30
Speaker 1: Martin Scorsese Doors Biopick would have been fascinating, to say
52:36
Speaker 1: the least. So that brings us, as we're rounding third,
52:39
Speaker 1: to our traditional question, when all three of us are
52:41
Speaker 1: here about where we would place Lance Reddick as an actor?
52:47
Speaker 1: What role would we give him here in Oliver Stones
52:51
Speaker 1: The Doors. For anybody new to the show, because we
52:55
Speaker 1: pick up new listeners every so often, there is a
52:59
Speaker 1: terrific actor name Lance Reddick, whom we all love. Every
53:02
Speaker 1: every sane and rational person sees Lance Reddick and goes,
53:05
Speaker 1: that guy's awesome. And so we've we've adopted a fun
53:08
Speaker 1: little thing where we recast a role where we say
53:13
Speaker 1: Lance Reddick. I would have loved to see him do this, Darren,
53:19
Speaker 1: Where do you see the possibility of a Lance Reddick
53:22
Speaker 1: role here in nineteen ninety one's the Doors?
53:26
Speaker 4: Well, you say nineteen ninety one's the Doors, but we're
53:29
Speaker 4: not set in nineteen ninety one. So I went with
53:32
Speaker 4: a smaller role. It's I don't it's hard. I don't
53:36
Speaker 4: even know. I'm sure it's credited, but it's hard finding
53:38
Speaker 4: the credit. I put him as the kind of technical
53:43
Speaker 4: producer on the Ed Sullivan Show, So the guy who
53:46
Speaker 4: like talks to them ahead of time and now guys, yes,
53:49
Speaker 4: now you're not you're not gonna say that right, You're
53:51
Speaker 4: gonna just change it. And then he's in the booth
53:53
Speaker 4: later he's like, he said, he said, he take it.
53:56
Speaker 4: He said it, Like, I just think that, you know,
53:58
Speaker 4: it's a it's a sick goal scene almost, but I
54:03
Speaker 4: would have loved that delivery of like kind of the striking,
54:06
Speaker 4: you know, fear in the heart of God of like
54:08
Speaker 4: don't you dare? And then just you know, trying to
54:12
Speaker 4: pick up the pieces of the show you're trying to
54:14
Speaker 4: run that.
54:15
Speaker 1: That's fair, that's fair, That's that's my role for good
54:18
Speaker 1: old Lance Tristan. Where do you see mister Reddick?
54:22
Speaker 2: Well, I liked I liked that you explained why why
54:25
Speaker 2: we do the Reddick segment and how we do it,
54:27
Speaker 2: and we I also want to say that when we
54:30
Speaker 2: put Reddick in sometimes it's you know, we do it
54:35
Speaker 2: like color blind. Sometimes it's you know, like age blind.
54:38
Speaker 2: Like if we did a movie that took place in
54:40
Speaker 2: like nineteen forty six, we would still put Lance Reddick
54:43
Speaker 2: in it, you know, right, you know, regardless of age
54:45
Speaker 2: and timeline everything like that. And also it's nothing against
54:48
Speaker 2: the actor that we're replacing them with. So with that, thom, Yeah,
54:53
Speaker 2: it's a thought experient.
54:54
Speaker 1: With that said, I.
54:55
Speaker 2: Would say Paul Rothschild Michael Wincott's character.
55:00
Speaker 1: I beautiful choice.
55:02
Speaker 2: I would love to see Lance Reddick, you know, have
55:06
Speaker 2: that conversation with Jim saying I missed Jem. I missed
55:11
Speaker 2: the real Jem. Where is he? You know, not this
55:14
Speaker 2: guy who's in front of me, Like, I think Lance
55:17
Speaker 2: Wincott nailed it, and I think Windcott makes everything better
55:20
Speaker 2: that he's in. But Reddick really would have I think
55:24
Speaker 2: hit home the businessman who becomes a friend, like you
55:29
Speaker 2: could see that happening with him.
55:32
Speaker 1: I love that choice. Rothschild is somebody I toyed with
55:35
Speaker 1: as well. I remember when the movies was released, somebody
55:39
Speaker 1: asked Rothschild about Wincott's performance as him, and Rothschild very
55:43
Speaker 1: politely said, I think he does a great job playing
55:46
Speaker 1: a record producer, like it was a way to dodge it.
55:49
Speaker 1: That was a beautiful way to be like he wasn't
55:52
Speaker 1: playing me. But I'm not going to say anything that
55:55
Speaker 1: wrecks this guy here. I toyed with the idea of Rothschild.
56:00
Speaker 1: I think that's a strong I think that's a beautiful choice.
56:04
Speaker 1: But uh, with somebody who has had such a complicated
56:07
Speaker 1: relationship with his film over time, I will one throw
56:13
Speaker 1: Billy Idol under the bus and I will say that
56:16
Speaker 1: I would cast cast a Lance Reddick as Cat Billy
56:22
Speaker 1: Idol's character, who is a fictional Malcolm of whatever, because
56:27
Speaker 1: I think Billy Idol is strangely terrible in a role
56:31
Speaker 1: that does not ask much of him. It's awful every
56:35
Speaker 1: time I see him. Yeah, the rumor was that he
56:38
Speaker 1: was going to play Morrison. God almighty, no, no, no, no, no,
56:42
Speaker 1: he was going.
56:42
Speaker 2: To play Tom Baker, my own Jadson's character.
56:45
Speaker 3: Right.
56:46
Speaker 1: One of the rumors at the time was that he
56:49
Speaker 1: was going to play Morrison. And like, he even did
56:51
Speaker 1: a a He did a cover of La Woman that
56:52
Speaker 1: was released shortly after the film that I I refuse
56:58
Speaker 1: to acknowledge its existence. It's like Arismith's cover of Love
57:01
Speaker 1: Me two times and like no, no, no, no, no,
57:04
Speaker 1: let's not do this. Yeah, and you know, we didn't
57:08
Speaker 1: even talk about casting. But Ian Astbury, whose name was
57:11
Speaker 1: in the mix to play Morrison on screen. I got
57:14
Speaker 1: to see him tour with the UH with Manseric and
57:20
Speaker 1: Craig Krieger at the ninet thirty Club in d C.
57:23
Speaker 1: He replaced Morrison when they were touring as Riders on
57:27
Speaker 1: the Storm in their their brief revival that Densmore killed
57:31
Speaker 1: because he's a jerk and he was terrific. I would
57:34
Speaker 1: love to see this film with Ian Astbury as as
57:37
Speaker 1: Morrison because it would be great. But I would put
57:39
Speaker 1: reddick in as Cat and replace Billy Idol. So that
57:44
Speaker 1: brings us to the end. That brings us to our
57:46
Speaker 1: necessary part. Somehow I haven't gone on and on. You
57:49
Speaker 1: guys don't understand the self control that it took not
57:52
Speaker 1: to go off the rails on here. But we got
57:56
Speaker 1: to get to our ratings. So Darren as our first timer,
58:01
Speaker 1: as the one who's never seen it before, I got
58:04
Speaker 1: to know on the five star scale, the holy scale
58:09
Speaker 1: that we have put in place that will never ever
58:11
Speaker 1: be replaced by a six star scale because that's just
58:14
Speaker 1: too much. Where do you place Oliver Stones the Doors
58:18
Speaker 1: on a rating of one to five?
58:22
Speaker 3: Yeah?
58:22
Speaker 4: Yeah, this movie was just a wild ride. I'm even
58:27
Speaker 4: thinking now, like when Crispin Glover showed up as Andy Warhol.
58:31
Speaker 4: I mean the whole sequence was like like what am
58:35
Speaker 4: I watching here? What?
58:37
Speaker 1: Yep?
58:38
Speaker 4: But you know, I'm giving it a three and it
58:44
Speaker 4: it kind of came down a bit during this discussion.
58:46
Speaker 4: Sometimes our discussion like elevates a movie and tips it
58:50
Speaker 4: up a bit. Honestly, knowing more about the lack of
58:56
Speaker 4: reality kind of diminishes it a little bit. I mean
59:01
Speaker 4: Kilmer's performance five six. You know you said, I can't
59:04
Speaker 4: do six, but I do six on His performance was
59:07
Speaker 4: so so good, Like I said, lost in the role
59:10
Speaker 4: Meg Ryan, lost in the role, which is beautiful. But yeah,
59:15
Speaker 4: at the end of the day, I won't watch this
59:17
Speaker 4: movie again, but I will listen to.
59:19
Speaker 1: The music off you your your playlist Johns Spotify playlists
59:23
Speaker 1: coming to you, Darren, I'm giving it.
59:24
Speaker 4: I'm giving it a three.
59:26
Speaker 1: All right, that's a fair rating. That's a fair rating.
59:30
Speaker 1: You know what, We're gonna end with you, Tristan, because
59:33
Speaker 1: I want to end with you, because I feel like
59:36
Speaker 1: it's you and Darren are gonna be more honest than
59:39
Speaker 1: I am. So let's just sandwich me between the two
59:41
Speaker 1: of you. For me, I have a love hate love,
59:45
Speaker 1: hate hate love relationship with this film. Sometimes when I
59:49
Speaker 1: rotch it it's a one star, I despise it. I
59:53
Speaker 1: want to go with a pitchfork and a torch to
59:55
Speaker 1: Oliver Stone's house and just like take him down. Other
59:59
Speaker 1: times that little teenager and meat bubbles up. Now I
1:00:02
Speaker 1: love it. I think it's great, and I think that
1:00:05
Speaker 1: there's a word, Tristan that you use that is very
1:00:08
Speaker 1: accurate for it.
1:00:09
Speaker 2: It's a vibe.
1:00:10
Speaker 1: There's a vibe to this film and come at me.
1:00:15
Speaker 1: I don't care whether you want to come at me
1:00:17
Speaker 1: with whatever you want to say, but there is an
1:00:20
Speaker 1: emotional part of me that this film speaks to. And
1:00:24
Speaker 1: I wind up with a four on this viewing at
1:00:27
Speaker 1: least because I think it is successful in it the
1:00:31
Speaker 1: very least of it. It's basically like a two and
1:00:34
Speaker 1: a half hour music video, and if you love the music,
1:00:37
Speaker 1: it's cool. It's not Jim Morrison's life that you're watching,
1:00:41
Speaker 1: but you're watching somebody's life while terrific.
1:00:44
Speaker 4: Ly yeah, it's not real, just the way to show
1:00:47
Speaker 4: the music and.
1:00:48
Speaker 1: Somebody's life is playing out while you're listening to incredible music. Okay,
1:00:52
Speaker 1: I'll go with that. That's fine. So that's me. That's
1:00:56
Speaker 1: where I land this time is four stars, Tristan, bring
1:01:00
Speaker 1: us back down to earth, because I know you're not
1:01:02
Speaker 1: landing with a four. You're probably not landing with a three.
1:01:06
Speaker 1: If I know you pretty well, let us know what
1:01:08
Speaker 1: you think.
1:01:10
Speaker 2: I wanted to give this movie a two. I'm not
1:01:15
Speaker 2: going to give it a too because I feel like
1:01:20
Speaker 2: the whole thing of the vibe and also the cinematography,
1:01:24
Speaker 2: you know, really this really brings it up I just
1:01:27
Speaker 2: like Richardson's photography is just so stellar and so beautiful
1:01:32
Speaker 2: and so well done that I can't give a movie
1:01:35
Speaker 2: like that a two necessarily. Like I feel like, you know,
1:01:40
Speaker 2: like if this movie was absolutely you know, dog crap,
1:01:43
Speaker 2: then yeah, I could give it it too, and it's close. Uh,
1:01:46
Speaker 2: but it's no, I get I give it. I give
1:01:49
Speaker 2: it a two and a half. I mean, like I
1:01:51
Speaker 2: wanted to like this movie. I really did, And I
1:01:53
Speaker 2: totally get John what you're saying about. How like if
1:01:56
Speaker 2: you are, like if they meet a movie like this
1:01:59
Speaker 2: about like Brandon an Incubus, I probably would have the
1:02:02
Speaker 2: same kind of feelings that you do because, like, to me, like,
1:02:08
Speaker 2: I'm that much younger than you, Brandon Boyd is the
1:02:12
Speaker 2: poet for me of in my middle school and high
1:02:15
Speaker 2: school years, and you know, he's not the icon that
1:02:19
Speaker 2: Jim Morrison is or and was, of course, But that's
1:02:22
Speaker 2: the kind of thing. But like if I went to
1:02:24
Speaker 2: go see a movie that was mainly incubus music, yeah,
1:02:27
Speaker 2: I wouldn't be given a two or two and a half.
1:02:30
Speaker 2: So I totally understand that. But just from a structure standpoint,
1:02:34
Speaker 2: from a psyche standpoint, from a from an accuracy standpoint,
1:02:41
Speaker 2: I can't give this a three or above, so this
1:02:44
Speaker 2: is a This is a generous two and a half from.
1:02:46
Speaker 1: Me, fair enough, I think from everybody here, for any
1:02:51
Speaker 1: of the kids listening, still just real quick. I know
1:02:53
Speaker 1: we're a little over an hour right now. But if
1:02:55
Speaker 1: you want to read the necessary works on Jim Morrison's life,
1:02:59
Speaker 1: read No One Here Gets Out Live, which is the
1:03:01
Speaker 1: legendary one that came out in nineteen eighty I think,
1:03:04
Speaker 1: But for more accuracy, read break On Through the Life
1:03:08
Speaker 1: and Death of Jim Morrison by James Reordan and Jerry Proutchniki.
1:03:12
Speaker 1: And then there's a very small book called The Lizard
1:03:16
Speaker 1: King Lived Here I think, which is a small independent
1:03:21
Speaker 1: publishing book where a guy examined simply the two years
1:03:24
Speaker 1: that he lived in Arlington slash Alexandria, Virginia. And those
1:03:29
Speaker 1: three books are absolutely necessary reads. Basically all you need
1:03:35
Speaker 1: to the autobiographies from the other bandmates. I'd say Robbery
1:03:40
Speaker 1: Kreeger's is the only one. But that brings us to
1:03:43
Speaker 1: the end of our examination of The Doors by Oliver Stone,
1:03:49
Speaker 1: and I think that next week historical accuracy will be
1:03:52
Speaker 1: another thing that will be a topic of extreme concern
1:03:57
Speaker 1: since we're dealing with another biopic. But what are we
1:04:00
Speaker 1: going to be talking about next week on house Lights.
1:04:04
Speaker 4: Well, as you mentioned, we're actually going to stay in
1:04:06
Speaker 4: nineteen ninety one as both these movies came out the
1:04:08
Speaker 4: same year, and we're going to JFK by Oliver Stone
1:04:13
Speaker 4: here on house Lights.
1:04:15
Speaker 1: Join the Revolution, Join the Nerd Party.