Latest / Movie Meltdown / Attack of the Finale Songs!

Transcript

Attack of the Finale Songs! · Movie Meltdown

• 0:00
  Speaker 1: Guess who?
• 0:02
  Speaker 2: It's 10 o'clock. Do you care where your parents are?
• 0:04
  Speaker 1: The following feature has been rated R by the Motion
• 0:06
  Speaker 1: Picture Association of America.
• 0:08
  Speaker 3: It is intended for mature audiences and parental discretion is advised.
• 0:20
  Speaker 4: Emergency alert.
• 0:21
  Speaker 2: Defense Corps forces reported just moments ago. This is not
• 0:26
  Speaker 2: a drill. Repeat, this is not the drill.
• 0:29
  Speaker 1: At this time, we are requesting the immediate.
• 0:33
  Speaker 4: And orderly evacuation of the vicinity.
• 0:36
  Speaker 2: The Coast Guard and the Navy have been alerted and
• 0:38
  Speaker 2: are standing by on the eastern seaboard.
• 0:41
  Speaker 1: And it continues to burn out of control.
• 0:43
  Speaker 2: It has been regular.
• 0:44
  Speaker 3: Every five to ten minutes, there has been another convoy
• 0:47
  Speaker 3: of units, fire companies, paramedics.
• 0:50
  Speaker 2: A citywide emergency has been declared. Police officers are still
• 0:54
  Speaker 2: on tactical full alert.
• 0:56
  Speaker 1: 2,000 National Guardsmen are standing by.
• 0:58
  Speaker 2: Air defense warning read.
• 1:01
  Speaker 4: We're doomed!
• 1:04
  Speaker 2: It's time for Movie Meltdown's Attack of the Killers soundtrack.
• 1:08
  Speaker 1: The live transmission has begun, and we're into the final
• 1:12
  Speaker 1: hour of hell.
• 1:33
  Speaker 3: What's up and welcome to Movie Meltdown's Attack of the
• 1:35
  Speaker 3: Killer soundtrack. I am Brian.
• 1:36
  Speaker 2: And I'm George.
• 1:37
  Speaker 3: And we're coming to you live via digital recording from
• 1:40
  Speaker 3: the Oddity Studios back home. for another soundtrack-themed episode. Woo-hoo!
• 1:44
  Speaker 2: Rockin' out!
• 1:45
  Speaker 3: I have been, again, that's one of those that we
• 1:48
  Speaker 3: just keep trying to like, okay, what's the next episode?
• 1:50
  Speaker 3: What's the next episode? And then I get where I'm like,
• 1:53
  Speaker 3: It's been like months and we haven't done one. So
• 1:55
  Speaker 3: it's been since the beginning of the year. And I
• 1:57
  Speaker 3: was like, we need to do another soundtrack episode. Nice.
• 2:00
  Speaker 2: I dig it.
• 2:01
  Speaker 3: We threw this episode idea out there like several months ago.
• 2:05
  Speaker 3: And we kept kind of, okay, whatever. We got to
• 2:07
  Speaker 3: do Thor. We got to do this. And so like
• 2:09
  Speaker 3: it's gotten pushed off enough that it also gave us
• 2:11
  Speaker 3: a little time to work on it. So this should
• 2:15
  Speaker 3: be fun. Most of which we didn't know. Beforehand, either.
• 2:20
  Speaker 3: We kind of kept it as you do half, I'll
• 2:22
  Speaker 3: do half, and we'll just throw them out and see
• 2:23
  Speaker 3: what we end up with. So that way we can
• 2:27
  Speaker 3: see what we get ourselves into. Okay. So this is
• 2:33
  Speaker 3: one I at least just wanted to... My only intro
• 2:35
  Speaker 3: for it is there are songs, and that's kind of
• 2:38
  Speaker 3: what so much of this version of the show has
• 2:41
  Speaker 3: become over the years. It's sort of not just... music-based
• 2:46
  Speaker 3: and not just movies, but how much they end up
• 2:48
  Speaker 3: tying themselves together. Specific songs are then attached to specific
• 2:54
  Speaker 3: movies and vice versa. And then there's also something that
• 2:58
  Speaker 3: I've noticed for me over the years, and maybe everybody
• 3:00
  Speaker 3: has this, but again, I think at least movie geeks will.
• 3:04
  Speaker 3: Normal people probably don't think about these sort of things,
• 3:06
  Speaker 3: but there are ones that do get stuck in my
• 3:09
  Speaker 3: head as a credit song.
• 3:11
  Speaker 2: Right.
• 3:12
  Speaker 3: And I will hear it and in my mind, credits
• 3:15
  Speaker 3: will be rolling on the screen.
• 3:17
  Speaker 2: Yeah, you're thinking of that movie.
• 3:18
  Speaker 3: I'm like, oh yeah. And then there's other ones. This
• 3:21
  Speaker 3: is what I realized in this. Because I had one
• 3:23
  Speaker 3: that I very... I had a movie and I very
• 3:25
  Speaker 3: specifically associated one song with it. And I'm like, probably
• 3:30
  Speaker 3: because it's the end song. And I listened to it
• 3:33
  Speaker 3: all the way through as the credits were rolling. I
• 3:35
  Speaker 3: specifically went back and watched it and like, no, it's
• 3:37
  Speaker 3: not at all. So like we get it in our
• 3:40
  Speaker 3: head that it's part of it in a specific place.
• 3:43
  Speaker 3: And if you haven't watched it in a while, you gotta,
• 3:45
  Speaker 3: you gotta double check. So this is, yeah, that, that's
• 3:48
  Speaker 3: interesting to me too, that we not only associate it
• 3:50
  Speaker 3: with a movie, but also very specific parts of movies.
• 3:54
  Speaker 3: Even something is, you know, run of the mill as
• 3:56
  Speaker 3: credit scrolling by sometimes that attaches itself in a weird
• 3:59
  Speaker 3: way too.
• 4:00
  Speaker 2: So, Yeah, just, you know, like you said, it's the
• 4:04
  Speaker 2: bow on the top of the package. You know, it
• 4:06
  Speaker 2: just wraps everything up nicely. You know, gets you all
• 4:09
  Speaker 2: feeling good, you know, at the end of the movie.
• 4:11
  Speaker 2: There's just something that's like, yeah, that's, you know.
• 4:14
  Speaker 3: It can, and I think when it works best, it
• 4:18
  Speaker 3: definitely does. It is one of those, sometimes I'm like,
• 4:21
  Speaker 3: and even one or two that I've picked, I feel
• 4:23
  Speaker 3: like that's something I've noticed putting these together over the
• 4:27
  Speaker 3: years a lot, is like there's kind of two... main
• 4:30
  Speaker 3: camps there's like this is a concept idea from the
• 4:35
  Speaker 3: moment i started this movie i either am that person
• 4:38
  Speaker 3: writing the songs or i working with this person writing
• 4:41
  Speaker 3: the songs and it's all one big thing and it's
• 4:43
  Speaker 3: all interwoven into the story or the other camp is
• 4:48
  Speaker 3: we're a studio movie we're also co-owned by this company
• 4:51
  Speaker 3: over here that puts out all our music so we're
• 4:53
  Speaker 3: gonna work in as many of our songs into the
• 4:56
  Speaker 3: soundtrack here's your list. Pick 10 of them. Call it
• 4:58
  Speaker 3: your soundtrack.
• 4:59
  Speaker 2: You're good to go. Yeah.
• 5:00
  Speaker 3: And you can feel that in some of them. And
• 5:02
  Speaker 3: I'm like, this doesn't officially have anything to do with it,
• 5:04
  Speaker 3: but I really liked the song. So I don't care.
• 5:07
  Speaker 3: So yeah, it's, I go back and forth on like,
• 5:10
  Speaker 3: sometimes I like the randomness of the other ones. And
• 5:12
  Speaker 3: then sometimes you like, if you're really thinking as a director,
• 5:16
  Speaker 3: as a writer, like you also were working in songs
• 5:18
  Speaker 3: as you go.
• 5:19
  Speaker 2: So yeah. Any movie that Sony has released or had
• 5:22
  Speaker 2: anything to do with is the worst offender of that. Yeah. Like,
• 5:25
  Speaker 2: you know, There's so many movies like, okay, these are
• 5:29
  Speaker 2: all Interscope artists. We get it. Thank you very much.
• 5:33
  Speaker 3: It's our job.
• 5:34
  Speaker 2: Yeah.
• 5:34
  Speaker 3: Cross promote ourselves.
• 5:36
  Speaker 2: And this is kind of a bit of a lost art, too,
• 5:38
  Speaker 2: because it used to be like, especially, you know, up
• 5:41
  Speaker 2: until maybe like the 90s, you still had a lot of.
• 5:45
  Speaker 2: Music that was written specifically for the movie. Not just
• 5:47
  Speaker 2: score work, like pop songs, rock songs, country songs, whatever.
• 5:50
  Speaker 3: You would bring in a popular artist and be like,
• 5:53
  Speaker 3: here's what we're doing. Create a song specifically for this movie.
• 5:58
  Speaker 2: Yeah, and you don't, I mean, like, about the most
• 6:01
  Speaker 2: recent maybe usage of it is, like, Eminem doing songs
• 6:04
  Speaker 2: for Venom. Yeah. That's about really, I mean, that's about
• 6:07
  Speaker 2: the most thing I can think of.
• 6:09
  Speaker 3: The only one that's, like, the running one that always
• 6:11
  Speaker 3: has done that is, like, Bond.
• 6:13
  Speaker 2: Yeah.
• 6:13
  Speaker 3: Bond will take whoever the new person is of the
• 6:16
  Speaker 3: last five or ten years and be like... Here is Bond.
• 6:20
  Speaker 3: Go run with it. But you kind of still got
• 6:22
  Speaker 3: to stick within these parameters. But otherwise, do your thing
• 6:27
  Speaker 3: Bond style.
• 6:28
  Speaker 5: Yeah.
• 6:28
  Speaker 2: And of course, sometimes they take chances. The Jack White,
• 6:31
  Speaker 2: Alicia Keys one was a big chance. And it almost...
• 6:35
  Speaker 2: They were a replacement, because originally it was supposed to
• 6:38
  Speaker 2: be Amy Winehouse.
• 6:38
  Speaker 3: Well, they kept doing that. They got so big in that,
• 6:42
  Speaker 3: and specifically from the Brosnan era on, they got so
• 6:45
  Speaker 3: big they were bringing in multiple people. And they were like, okay,
• 6:49
  Speaker 3: you do one, and you do one, and you do one,
• 6:51
  Speaker 3: and we'll pick and see which one we really want
• 6:52
  Speaker 3: to be the big song of the movie. And the
• 6:54
  Speaker 3: rest we'll throw on the soundtrack, too. Because I think
• 6:56
  Speaker 3: that was the one that I think we ended up
• 6:59
  Speaker 3: being the big Madonna one. I think that same soundtrack,
• 7:04
  Speaker 3: like there's also a Katie Lang song that like they
• 7:08
  Speaker 3: told her, hey, you're going to be the big move.
• 7:10
  Speaker 3: And then they went, oh, wait, we got Madonna. You'll
• 7:12
  Speaker 3: be on the soundtrack.
• 7:13
  Speaker 4: Don't you worry.
• 7:14
  Speaker 3: That check will clear. So I'm sure it's not fun
• 7:17
  Speaker 3: for the artist when you get to pick and choose
• 7:19
  Speaker 3: and you're not chosen to be the big finale song
• 7:22
  Speaker 3: because that's where they put their big song is at
• 7:25
  Speaker 3: the end credits.
• 7:26
  Speaker 2: Or the beginning.
• 7:28
  Speaker 3: Sometimes, yeah. Or that's the fallback a lot of times.
• 7:31
  Speaker 3: It's like, okay, you're not chosen to be the opening credits,
• 7:34
  Speaker 3: so we'll put you in at the end credits.
• 7:36
  Speaker 2: How about that? Or there's some artists that just get
• 7:40
  Speaker 2: rejected outright. Radiohead apparently had an offering at one point.
• 7:46
  Speaker 2: I think it was one of the more recent, like
• 7:53
  Speaker 2: the Daniel Craig ones. They had an entry and it
• 7:56
  Speaker 2: was just, nah, thank you, but no.
• 7:59
  Speaker 3: Radiohead's not for everyone.
• 8:01
  Speaker 2: Well, I mean, but, you know, it's like.
• 8:02
  Speaker 3: But they are huge names.
• 8:04
  Speaker 2: Yeah, but in the right setting, if they don't get
• 8:05
  Speaker 2: too terribly experimental. I mean, you know, Tom York's got
• 8:08
  Speaker 2: a beautiful voice, and they can totally have done something.
• 8:11
  Speaker 3: And you have somebody in there who can write film scores.
• 8:14
  Speaker 1: Yeah.
• 8:14
  Speaker 3: You'd think they'd have an inside track.
• 8:17
  Speaker 2: About half the band, yeah.
• 8:18
  Speaker 3: Coming up with a good score, but. Yeah, so. Whatever.
• 8:22
  Speaker 2: But, yeah, you don't get that. But what you get
• 8:24
  Speaker 2: a lot more, though, is, like, directors and writers who
• 8:28
  Speaker 2: will curate. Like, you know, the best two were, like,
• 8:31
  Speaker 2: Martin Scorsese, Quentin Tarantino. They really kind of started that
• 8:35
  Speaker 2: trend of, like, being curators for the music in your
• 8:39
  Speaker 2: movie because it's also telling a story. You know, Paul
• 8:41
  Speaker 2: Thomas Anderson does it. Simon... Oh, shoot. Edgar Wright. Edgar Wright.
• 8:47
  Speaker 3: Yeah, that's what I was just trying to think. I
• 8:48
  Speaker 3: was like, definitely Edgar Wright.
• 8:50
  Speaker 2: Yeah, Edgar Wright definitely used it, too.
• 8:52
  Speaker 3: And Wes Anderson is another one of those. So, yeah,
• 8:54
  Speaker 3: it's like you get a lot of the bigger directors.
• 8:56
  Speaker 3: I think that is sort of a post-2000s thing. Like,
• 9:00
  Speaker 3: Tarantino sort of started in the 90s, and all the, like,
• 9:03
  Speaker 3: indie directors started. Well, and actually one of my first
• 9:06
  Speaker 3: ones is another one of those. I'll wait and get
• 9:08
  Speaker 3: to that one. But so many of the other big
• 9:10
  Speaker 3: ones came along in, like, Just that became the thing.
• 9:14
  Speaker 3: You know, that's how they started coming up with the
• 9:17
  Speaker 3: concept of the movie a lot of times is like,
• 9:19
  Speaker 3: I've got this vibe and I'm putting these songs. I know,
• 9:23
  Speaker 3: I know Edgar Wright does that. Like they were just
• 9:24
  Speaker 3: talking like these last two movies. Like I remember them
• 9:27
  Speaker 3: talking about he's writing it, listening to the song, sometimes
• 9:31
  Speaker 3: the same ones he ends up with if the licensing
• 9:33
  Speaker 3: comes together. But if not, there are other ones of
• 9:36
  Speaker 3: that same era, especially this last movie was very era-oriented.
• 9:39
  Speaker 3: But even Baby Driver, he's got so many things that
• 9:43
  Speaker 3: he wants to put in and has specific beats and
• 9:47
  Speaker 3: types of songs that even if they can't get the
• 9:49
  Speaker 3: licensing on that one, they'll go with something similar. So
• 9:52
  Speaker 3: he's already got the sound kind of going in there.
• 9:54
  Speaker 2: Unfortunately, he picked older songs or obscure stuff. I just
• 9:58
  Speaker 2: thought it was great. He had the idea. for Bell
• 10:00
  Speaker 2: Bottoms to be the opening song for the opening scene
• 10:03
  Speaker 2: of the movie. And he's had that same idea since
• 10:06
  Speaker 2: the song came out 20 some odd years ago. And
• 10:09
  Speaker 2: so it's like, that's awesome that you had that idea
• 10:12
  Speaker 2: journey for so long and we're still able to see
• 10:14
  Speaker 2: it through.
• 10:15
  Speaker 3: And it's a fantastic scene. It's a great song in general.
• 10:18
  Speaker 3: Great song, great scene. It's good to start with. And
• 10:20
  Speaker 3: then that scene is so perfectly orchestrated, literally, like that
• 10:25
  Speaker 3: movie in particular. For the cast issues now, that aside,
• 10:29
  Speaker 3: like the structure of that, not just the movie as
• 10:32
  Speaker 3: a whole, but those individual scenes and the way he
• 10:34
  Speaker 3: works music in is awesome. It's so perfectly put together.
• 10:40
  Speaker 2: And I didn't realize he was kind of going for that.
• 10:42
  Speaker 2: I knew like bell bottoms was, you know, a specific part,
• 10:44
  Speaker 2: but I didn't think like he was going for the
• 10:45
  Speaker 2: whole movie. And then like the next scene where baby's
• 10:48
  Speaker 2: walking down the street to Harlem shuffle and you see like,
• 10:51
  Speaker 2: he's dancing in time or things are happening in time.
• 10:53
  Speaker 2: You see lyrics printed on the walls. Like, okay, I
• 10:57
  Speaker 2: see what you're doing.
• 10:58
  Speaker 4: This is nice.
• 10:58
  Speaker 3: And continues by the end, they're firing guns in beat
• 11:02
  Speaker 3: with the music. And I was just like, that is
• 11:05
  Speaker 3: a lot of plan. and orchestrating on the set that
• 11:10
  Speaker 3: day let alone mixing and editing later like it's just
• 11:13
  Speaker 3: it's exhausting to think about that he's that skilled and
• 11:18
  Speaker 3: just crazy obsessive about it but like it When it works,
• 11:21
  Speaker 3: it works. It really does. Yeah. These are good examples
• 11:26
  Speaker 3: of the current version of that. A lot of mine
• 11:29
  Speaker 3: are going back further, so it's kind of back and
• 11:31
  Speaker 3: forth for me.
• 11:32
  Speaker 2: I think my most recent movie on my list here
• 11:35
  Speaker 2: is in 2000. That's the newest movie on here. I've
• 11:41
  Speaker 2: got it.
• 11:42
  Speaker 3: A few newer depending on where we go because we've
• 11:44
  Speaker 3: got some alternates in case we need them but yeah
• 11:46
  Speaker 3: i've definitely got one more in my head more recent
• 11:49
  Speaker 3: now when i do the math it's actually been several
• 11:51
  Speaker 3: years but you know how that goes it scares me
• 11:55
  Speaker 3: sometimes when i'm like no that's a recent wait not
• 11:58
  Speaker 3: 12 years ago i'll be damned so like i do
• 12:01
  Speaker 3: that a lot these days i'm like why don't you
• 12:04
  Speaker 3: know that move oh wait because you're 24 okay that's
• 12:06
  Speaker 3: why you were a child when this came out never
• 12:09
  Speaker 3: So it's disturbing when I run across that, but.
• 12:13
  Speaker 5: That happens.
• 12:14
  Speaker 4: All right, we should probably get on into it.
• 12:17
  Speaker 3: So would you like to kick things off?
• 12:19
  Speaker 2: I would love to. Well, my first selection here comes
• 12:22
  Speaker 2: from Goodfellas. Now, of course, everybody remembers towards the ending
• 12:26
  Speaker 2: of Goodfellas, you get the piano suite from Layla, and
• 12:29
  Speaker 2: everybody always remembers that part.
• 12:31
  Speaker 3: That was the trailer. That sold it before you even
• 12:34
  Speaker 3: saw the movie.
• 12:35
  Speaker 2: Sure, yeah. Of course, people remember a lot of that
• 12:39
  Speaker 2: from the ending, but that doesn't actually end the movie.
• 12:41
  Speaker 2: What does end the movie was a very inspired choice.
• 12:46
  Speaker 2: We take the Classic, My Way. Many people have covered it.
• 12:51
  Speaker 2: Frank Sinatra, of course, has popularized it. But one other
• 12:54
  Speaker 2: particular person has covered this song. Sid Vicious from the
• 12:58
  Speaker 2: Sex Pistols. And the song actually appears on the Sex
• 13:04
  Speaker 2: Pistols' second and final album before they kind of broke
• 13:08
  Speaker 2: up proper and Sid died. And then they got back
• 13:10
  Speaker 2: together again. But anyway, the real Sex Pistols was on
• 13:14
  Speaker 2: the Great Rock and Roll Swindle, which basically is also
• 13:16
  Speaker 2: the soundtrack of their kind of mockumentary movie as well.
• 13:20
  Speaker 2: That's the only place this appears on. It doesn't actually
• 13:23
  Speaker 2: end the Goodfellas soundtrack if you went and bought it.
• 13:26
  Speaker 4: Hmm.
• 13:27
  Speaker 2: Yeah, it ends with the Layla piano suite. Of course, yeah.
• 13:31
  Speaker 2: But no, just to end with Sid's cover of My Way,
• 13:35
  Speaker 2: which he definitely, of course, the tempo is a lot faster.
• 13:39
  Speaker 2: The lyrics are very different. He takes some of the
• 13:42
  Speaker 2: lyrics and they kind of go his own way. And
• 13:44
  Speaker 2: then there was another version where basically there were some
• 13:47
  Speaker 2: things that had to.
• 13:47
  Speaker 5: Be edited out.
• 13:48
  Speaker 3: Imagine that. He's obnoxious.
• 13:50
  Speaker 2: He's dropping C-bombs. He's making references to homosexuals that are
• 13:55
  Speaker 2: no longer considered proper nomenclature.
• 13:58
  Speaker 3: That's the thing. I've always kind of taken that. In general,
• 14:03
  Speaker 3: what they're doing is like, Sex Pistols are like, you're
• 14:06
  Speaker 3: important in the arc of punk rock. musically i don't
• 14:10
  Speaker 3: really need what you're doing.
• 14:12
  Speaker 2: Yeah i can't i mean i'm a big punk fan
• 14:14
  Speaker 2: i can honestly say i like about three sex pistol.
• 14:17
  Speaker 3: Songs and they like the hits and even even the
• 14:20
  Speaker 3: fictionalized version i went back a few years ago talking
• 14:23
  Speaker 3: to the director and i was like oh i need
• 14:25
  Speaker 3: to watch you know sid and nancy and i'm like
• 14:27
  Speaker 3: man i cannot stand these guys and this isn't even
• 14:29
  Speaker 3: them these are actors and this performance of you creating
• 14:34
  Speaker 3: sid is amazing but I don't want to hang out
• 14:36
  Speaker 3: with Sid because he and Johnny are freaking obnoxious. Like,
• 14:40
  Speaker 3: so yeah, it's one of those, the more and more
• 14:42
  Speaker 3: exposure I have to them, the less I like these guys.
• 14:46
  Speaker 3: But again, like as Puck Rock goes, it's like, they're essential.
• 14:49
  Speaker 3: They're really important for what came out of that. they're
• 14:53
  Speaker 3: the least talented part of what came.
• 14:55
  Speaker 2: Out of that.
• 14:55
  Speaker 3: There's plenty way more talented bands that came along.
• 14:58
  Speaker 2: They were basically a lot more style and great PR
• 15:02
  Speaker 2: from Malcolm McLaurin.
• 15:03
  Speaker 3: Just a big middle finger to society and the corporate
• 15:07
  Speaker 3: world and all of that. Yeah.
• 15:09
  Speaker 2: But honestly, yeah, you, I mean, I agree.
• 15:12
  Speaker 5: Yeah.
• 15:12
  Speaker 2: They're not the most musically gifted of the punk bands,
• 15:16
  Speaker 2: but yeah, you know, they, they have, they definitely have
• 15:17
  Speaker 2: their place in there, but I just thought that was
• 15:19
  Speaker 2: just a great cap. Just, you know, having this, you know,
• 15:23
  Speaker 2: This little kind of almost massacring of the song.
• 15:25
  Speaker 3: And, well, again, coming out of a massacring kind of
• 15:29
  Speaker 3: a movie.
• 15:29
  Speaker 2: Yeah.
• 15:30
  Speaker 3: This is, yeah, we're taking what normally would be a very,
• 15:34
  Speaker 3: you know, I know a lot of the Italian mobster guys,
• 15:37
  Speaker 3: you know, Sinatra's their dude. So, like, this is sort
• 15:41
  Speaker 3: of a Marty going, you know, I'm going to put
• 15:44
  Speaker 3: my own spin on it. Much like Sid, I'm going
• 15:47
  Speaker 3: to put my own spin on this closing of the movie.
• 15:58
  Speaker 1: I did what.
• 15:59
  Speaker 5: I had to do.
• 16:00
  Speaker 4: I saw it through with nothing to fear.
• 16:04
  Speaker 6: I planned it, got a cup, and kept on drinking
• 16:14
  Speaker 6: along the outward. much more than this.
• 16:29
  Speaker 1: I didn't know why at.
• 16:31
  Speaker 6: One time I'm sure you knew when there was fuck
• 16:37
  Speaker 6: fuck fuck.
• 16:39
  Speaker 1: A little else to do but then we found who
• 16:47
  Speaker 1: knew I've loved and been a snide I've.
• 17:09
  Speaker 7: Had my fill of shit, of little things.
• 17:16
  Speaker 6: And now that tears have dried To think I killed
• 17:31
  Speaker 6: a cat And my eyes say Not in the day
• 17:37
  Speaker 6: way Oh no Oh no not me They didn't mean
• 17:44
  Speaker 6: Right For what is.
• 17:47
  Speaker 8: A friend To what has he got When he was asked.
• 18:13
  Speaker 4: Oh, shut the fuck up. And finish mine.
• 18:39
  Speaker 2: You kind of remember where Henry's kind of at in
• 18:41
  Speaker 2: the middle. He's basically, he's no longer in New York anymore.
• 18:44
  Speaker 2: He's no longer with the guys. It's like he's now
• 18:46
  Speaker 2: stuck in the suburbs. You know, he's got white neighbors
• 18:50
  Speaker 2: that mow the lawn and put mayonnaise on everything. And,
• 18:52
  Speaker 2: you know, they don't know, you know, a rigatoni from,
• 18:56
  Speaker 2: you know, a calzone or anything like that.
• 18:58
  Speaker 3: Hey, Chef Boyardee is good pasta.
• 19:01
  Speaker 2: Sure. You know, he's complaining about getting, you know, ketchup
• 19:05
  Speaker 2: and macaroni when he asked for, you know, you know,
• 19:07
  Speaker 2: Pasta and marinara sauce. You know, so it makes total
• 19:11
  Speaker 2: sense to them, basically, like, you know what, let's just
• 19:13
  Speaker 2: stick this one last little nail in. Yeah. Just thought
• 19:15
  Speaker 2: it was a great choice.
• 19:16
  Speaker 3: All right. Well, my first one here is kind of
• 19:22
  Speaker 3: what I was just talking about, that little indie wave
• 19:25
  Speaker 3: coming up in the 90s there. And this is one,
• 19:29
  Speaker 3: thinking back, and I'm going by my memory, which is faulty,
• 19:33
  Speaker 3: but if I remember, this is the first thing I
• 19:36
  Speaker 3: heard about this movie. was there was a and again
• 19:39
  Speaker 3: i'm remembering that it was in premiere i could be
• 19:41
  Speaker 3: wrong but i have you know decades worth of uh
• 19:46
  Speaker 3: premiere magazines sitting in a box somewhere so i i
• 19:49
  Speaker 3: read that i was as I read anything. I looked
• 19:51
  Speaker 3: at pictures in premiere every issue when it, from the seriously,
• 19:55
  Speaker 3: the first issue.
• 19:55
  Speaker 9: Oh yeah.
• 19:56
  Speaker 3: So I remember seeing an article that came out before,
• 20:00
  Speaker 3: well before the movie and was the first time I
• 20:02
  Speaker 3: ever heard of clerks. And it was specifically because of
• 20:07
  Speaker 3: the soundtrack and, how this nobody director had put together
• 20:12
  Speaker 3: not only this great soundtrack, but I think at the time,
• 20:15
  Speaker 3: He had so many different songs that they were considering
• 20:18
  Speaker 3: putting out a double album.
• 20:20
  Speaker 2: Oh, wow.
• 20:20
  Speaker 3: For a new director on a movie that was made
• 20:24
  Speaker 3: for no budget. Then I'm like, how do you even
• 20:27
  Speaker 3: come up with enough songs that you could pay for
• 20:30
  Speaker 3: to put out a soundtrack, period? Let alone a double album,
• 20:33
  Speaker 3: which eventually got scrapped, obviously.
• 20:34
  Speaker 1: Yeah.
• 20:35
  Speaker 3: But that was, I think, the first thing I ever
• 20:38
  Speaker 3: heard of that. And then later I heard what it
• 20:39
  Speaker 3: was about and, you know, all my dorky friends that
• 20:42
  Speaker 3: worked at a video store said, Got super excited, and
• 20:44
  Speaker 3: we went to see it together at the theater.
• 20:46
  Speaker 2: We were seeing, yeah.
• 20:47
  Speaker 3: But, yeah, it's like, finally, a movie for us. But, yeah,
• 20:51
  Speaker 3: it was like the first thing I ever remember hearing
• 20:53
  Speaker 3: about it was the soundtrack. And he, at the time,
• 20:57
  Speaker 3: was kind of one of those guys. He was an
• 20:59
  Speaker 3: up-and-coming director and was putting together these really interesting soundtracks with,
• 21:05
  Speaker 3: at the time, like most of the people on that
• 21:08
  Speaker 3: album are kind of unknowns to most people, band-wise. with
• 21:13
  Speaker 3: the exception of the big one here but you get
• 21:16
  Speaker 3: to even his next soundtrack is already pulling in huge
• 21:19
  Speaker 3: names so it's like suddenly then he was the golden
• 21:23
  Speaker 3: boy and you know the studio got involved and he
• 21:25
  Speaker 3: could do whatever but even that next soundtrack is a
• 21:28
  Speaker 3: great soundtrack and then the one as time went on
• 21:32
  Speaker 3: and this is A touchy subject for me because I
• 21:35
  Speaker 3: don't love him as a director anymore.
• 21:37
  Speaker 2: Right.
• 21:37
  Speaker 3: But at the time, I thought, you know, what he
• 21:40
  Speaker 3: was doing was great. And I thought it was interesting,
• 21:44
  Speaker 3: especially because of what the song is. And that's kind
• 21:48
  Speaker 3: of why I threw it on this list is because
• 21:51
  Speaker 3: I like the song, but the song... ends the movie
• 21:55
  Speaker 3: that we got so perfectly. And if even you're a
• 21:58
  Speaker 3: casual Clerks fan, you know originally that's not how it
• 22:02
  Speaker 3: was supposed to end. If you've watched it, because it's
• 22:05
  Speaker 3: on me being a geek, I had the LaserDisc of it.
• 22:08
  Speaker 3: If you watch, the alternate ending is on there. And
• 22:10
  Speaker 3: not only the scene, but, and I guess spoilers for
• 22:14
  Speaker 3: the movie that didn't happen, in the original concept and
• 22:17
  Speaker 3: the way that they originally shot it, Kevin Smith had it.
• 22:20
  Speaker 3: He was so influenced by Do the Right Thing, he
• 22:23
  Speaker 3: thought at the end of the movie, somebody's got to
• 22:25
  Speaker 3: get shot. Like, that's how you end an indie movie.
• 22:28
  Speaker 3: So he has... They're wrapping up. Randall leaves. Dante's closing
• 22:34
  Speaker 3: up the shop. Some guy comes in, shoots him, dead
• 22:38
  Speaker 3: on the floor, takes money out of the register, walks
• 22:41
  Speaker 3: out the door, and it... Is just credits going by, silence,
• 22:46
  Speaker 3: and cash register noises.
• 22:48
  Speaker 2: Yeah.
• 22:48
  Speaker 3: There is no music.
• 22:50
  Speaker 2: Yeah.
• 22:51
  Speaker 3: It's disturbingly, horrifyingly sad for these characters that you've loved
• 22:58
  Speaker 3: for the last hour and a half. Like, it's weird.
• 23:01
  Speaker 2: I mean, it would kill. You know, I'm very familiar
• 23:05
  Speaker 2: with that ending as well. It would have absolutely killed
• 23:07
  Speaker 2: the movie if they would have gone with that ending. Definitely.
• 23:09
  Speaker 2: Because it's like, what? Holy crap. I mean, you're just like,
• 23:13
  Speaker 2: you know, yeah. Half the movie just got killed here
• 23:16
  Speaker 2: at the end.
• 23:16
  Speaker 3: It varied.
• 23:17
  Speaker 2: It's kind of like, there's not even any dialogue. I
• 23:20
  Speaker 2: think Dante says like, oh, or what?
• 23:22
  Speaker 3: Hey, what are you doing here?
• 23:23
  Speaker 2: He just has like a single word he says, then
• 23:26
  Speaker 2: it gets popped.
• 23:28
  Speaker 10: Mm-hmm.
• 23:28
  Speaker 2: And of course I love that. And if you've seen
• 23:30
  Speaker 2: the trailer for the, you know, clerks three coming out,
• 23:33
  Speaker 2: they totally bring that joke back.
• 23:34
  Speaker 3: I figured that would be a, somewhere we would go
• 23:37
  Speaker 3: as well as the fact that that came kind of
• 23:39
  Speaker 3: out of nowhere. I mean, it's been rumored for years,
• 23:42
  Speaker 3: but I still, he's been saying that for God knows
• 23:44
  Speaker 3: how long. So I was just like, eh, whatever. And
• 23:46
  Speaker 3: I didn't know if I cared, but it is, I've
• 23:49
  Speaker 3: seen the trailer at least it's, interesting mostly the only
• 23:54
  Speaker 3: thing that won me over enough that i at least
• 23:55
  Speaker 3: want to see it now is the fact that it's
• 23:58
  Speaker 3: very randall centric like that's my guy you know it's
• 24:02
  Speaker 3: like watching it now i'm like dante gets kind of
• 24:04
  Speaker 3: on your nerves but like randall is so much fun
• 24:07
  Speaker 3: and like doesn't really care what's going on and like
• 24:11
  Speaker 3: he again he's he's written to be a super cool
• 24:15
  Speaker 3: character he's not necessarily a realistic character but he's the
• 24:19
  Speaker 3: one you like in the movie and again, he's the
• 24:22
  Speaker 3: best thing that came out of the sequel. So it's like,
• 24:25
  Speaker 3: seeing how much they're centering on him in this new
• 24:27
  Speaker 3: plot for the third one, I'm like, eh, alright. This
• 24:30
  Speaker 3: makes me at least want to see it more than
• 24:32
  Speaker 3: I wanted to see anything he's put out in years.
• 24:35
  Speaker 2: I'm definitely a little more hopeful about this one. I agree.
• 24:41
  Speaker 2: I'm not a humongous Soul Asylum fan, but I definitely
• 24:44
  Speaker 2: will always love this song of theirs.
• 24:46
  Speaker 3: And I thought that this was Can't Even Tell from
• 24:49
  Speaker 3: Soul Asylum, and That change is what... Because then it's...
• 24:55
  Speaker 3: All you have to do is back it up a little.
• 24:56
  Speaker 3: I think it was like John Pearson was the producer
• 24:59
  Speaker 3: that they inherited that was creating all these little indie
• 25:03
  Speaker 3: superstars at the time. And he came in and was like, no, no, no.
• 25:06
  Speaker 3: You can't end the movie like this. And again, it
• 25:09
  Speaker 3: has no... reason within the story it's just kevin didn't
• 25:13
  Speaker 3: really know what else to do and he's like oh
• 25:15
  Speaker 3: here we'll do this and like he's like no no
• 25:17
  Speaker 3: and all you have to do is back it up
• 25:19
  Speaker 3: because it ends the exact same way except we scroll
• 25:23
  Speaker 3: back and randall walks out the door and he takes
• 25:26
  Speaker 3: down the banner and throws it at him and like
• 25:29
  Speaker 3: that's when the song kicks in and that changes everything
• 25:32
  Speaker 3: about this movie.
• 25:41
  Speaker 1: I may never get what I want, but.
• 25:46
  Speaker 4: I'm happy just to die trying.
• 25:49
  Speaker 1: And I hope I ain't done nobody wrong, but I'm
• 25:56
  Speaker 1: missing it finally. And I'm looking.
• 26:01
  Speaker 5: For a cure because I'm born.
• 26:04
  Speaker 3: To get it.
• 26:07
  Speaker 4: Stuck in here, stuck out here, stuck in.
• 26:10
  Speaker 1: Here We live through.
• 26:13
  Speaker 4: Another day It's a good excuse.
• 26:17
  Speaker 5: To celebrate Take another knock on wood.
• 26:22
  Speaker 1: We'll find a reason to feel good I know you
• 26:26
  Speaker 1: know I want to know how I feel I can't
• 26:31
  Speaker 1: even tell you I can't even tell I can't even
• 26:38
  Speaker 1: tell No one.
• 26:39
  Speaker 11: Knows nothing about me I'm guessing I'll just keep on.
• 26:52
  Speaker 5: Guessing No one sees what I see This is my
• 26:57
  Speaker 5: blessing And I'm looking for a way.
• 27:03
  Speaker 1: To get out of here. Get me out of here,
• 27:08
  Speaker 1: out of here, out of here.
• 27:11
  Speaker 12: Feeling through another day is a good excuse to celebrate.
• 27:18
  Speaker 12: Take another knock on wood and find a reason to
• 27:23
  Speaker 12: feel good.
• 27:24
  Speaker 4: I know you know.
• 27:26
  Speaker 1: Just want to know how I feel. I can't even tell.
• 27:33
  Speaker 1: I can't even tell.
• 27:35
  Speaker 4: I can't even tell.
• 28:03
  Speaker 1: I'm right here, right here, right.
• 28:09
  Speaker 4: Here I know you know I.
• 28:12
  Speaker 1: Want to know how I feel I can't tell I
• 28:17
  Speaker 1: know you know I'll.
• 28:19
  Speaker 4: Tell you if it's real You thought.
• 28:22
  Speaker 1: Our lives were fair I can't even tell I can't even.
• 28:29
  Speaker 2: Tell you're right it does you know cap it off
• 28:40
  Speaker 2: very nicely yeah and you end up you leaving feel
• 28:43
  Speaker 2: good yeah.
• 28:44
  Speaker 3: And this was like that peak for them like this
• 28:48
  Speaker 3: is probably the pinnacle because because i was going back
• 28:50
  Speaker 3: to check and i'm like i liked them all right
• 28:52
  Speaker 3: time i had everybody i guess at that point was
• 28:55
  Speaker 3: issued a grave dancers union here you go you've got
• 28:58
  Speaker 3: a cd player here you are so but they were
• 29:01
  Speaker 3: i mean they'd been around for a while because i
• 29:03
  Speaker 3: went back to i knew i'd seen older albums when
• 29:05
  Speaker 3: that one came out but i went back there was
• 29:07
  Speaker 3: at least like four albums that came out before grave
• 29:10
  Speaker 3: dancers union and nobody knew who the hell they were
• 29:12
  Speaker 3: outside of their hometown right yeah before that came along
• 29:16
  Speaker 3: so like when that album came out and they were
• 29:18
  Speaker 3: it's like 90 the end of 92 so it's like
• 29:21
  Speaker 3: about a year of them riding high on all those
• 29:23
  Speaker 3: singles and And then this, you know, they get added in.
• 29:27
  Speaker 3: So they're kind of the big name for that Clerks soundtrack.
• 29:29
  Speaker 3: Everybody else is just like up and coming bands, people
• 29:32
  Speaker 3: that I think they knew. Like, again, it's several people
• 29:35
  Speaker 3: that repeat on there and like they're doing specific songs
• 29:39
  Speaker 3: for the movie. so like everybody else is a little
• 29:41
  Speaker 3: like down a couple of notches but like they were
• 29:44
  Speaker 3: the big you know name that they brought in to
• 29:46
  Speaker 3: round out the round out the soundtrack and the movie
• 29:49
  Speaker 3: itself and even I again at the time thought it
• 29:52
  Speaker 3: was pretty great they were even game enough to come
• 29:55
  Speaker 3: shoot the music video and And recreate the movie, essentially.
• 29:59
  Speaker 3: They're playing hockey on top of the grocery. And, you know,
• 30:02
  Speaker 3: Dave Peerner's there playing hockey. So, like, all right, this
• 30:05
  Speaker 3: is pretty fun.
• 30:06
  Speaker 2: And also kind of a fun little side note, too,
• 30:09
  Speaker 2: that Kevin tried that magic again with Chasing Amy because
• 30:13
  Speaker 2: their song, We Three, ends Chasing Amy.
• 30:16
  Speaker 1: Yeah.
• 30:17
  Speaker 2: Which also, again, written for the movie.
• 30:19
  Speaker 3: That was the one I didn't continue on with that.
• 30:23
  Speaker 3: I was like, Mallrats has a great soundtrack. Yeah. Chasing
• 30:26
  Speaker 3: Amy didn't get one. something went wrong with the studio
• 30:29
  Speaker 3: and the backing got pulled out or something. And like,
• 30:32
  Speaker 3: there are plenty of songs in it, but they never
• 30:34
  Speaker 3: released an official soundtrack. I think somewhere I've got the
• 30:38
  Speaker 3: single that they put out on CD. That was like
• 30:41
  Speaker 3: one of the other songs. It wasn't even we three.
• 30:43
  Speaker 3: It was like one of the others that they kind
• 30:45
  Speaker 3: of released as a single. But other than that, I
• 30:48
  Speaker 3: don't think hardly anything got officially put out from that,
• 30:51
  Speaker 3: from that. third movie.
• 30:52
  Speaker 2: And that's unfortunate because next to Clerks, Chasing Amy's is
• 30:55
  Speaker 2: best film.
• 30:55
  Speaker 3: Chasing Amy's, yeah, it's great. And I like Red State.
• 31:01
  Speaker 3: Other than that, these last several I am not happy about.
• 31:06
  Speaker 2: I have not seen Tusk or Yoga Hosers. I've seen
• 31:09
  Speaker 2: Red State.
• 31:10
  Speaker 3: I couldn't make myself watch Yoga Hosers. And Tusk makes
• 31:14
  Speaker 3: me angry. There's so many things about it that infuriate me.
• 31:20
  Speaker 3: As much as the last stupid reboot movie. I feel
• 31:24
  Speaker 3: like he's not the same guy anymore. He changed so much,
• 31:29
  Speaker 3: even as a character. Even when you see him, I
• 31:32
  Speaker 3: remember listening to, again, dork that I was, I was
• 31:35
  Speaker 3: listening to the commentary on Clerks. And I'm like, that
• 31:38
  Speaker 3: kid that he was that made that movie, midway in,
• 31:42
  Speaker 3: I always pin it to Cop Out. I think that
• 31:45
  Speaker 3: little thing with Bruce, Bruce broke his heart. And like
• 31:48
  Speaker 3: from that point on, he just was like, screw it.
• 31:51
  Speaker 3: I'm just going to do whatever gives me money.
• 31:53
  Speaker 2: And yeah, he has not been the same.
• 31:54
  Speaker 3: He has not been the same since then. And I
• 31:56
  Speaker 3: feel like just even as the character that, I mean,
• 31:59
  Speaker 3: he's become a cartoon, just silent Bob version, even when
• 32:03
  Speaker 3: he's doing stuff as Kevin now, which I'm like, that
• 32:05
  Speaker 3: isn't who he used to be when you see interviews
• 32:07
  Speaker 3: with him when he was a kid.
• 32:08
  Speaker 1: Yeah.
• 32:09
  Speaker 2: And he does a lot of TV directing and he's
• 32:11
  Speaker 2: become one of those directors that you know, yeah, I
• 32:13
  Speaker 2: used to have, you know, some pedigree. Now I direct,
• 32:16
  Speaker 2: you know, TV and I get, it's a paying gig
• 32:18
  Speaker 2: and whatever else, but you can't recognize my style from one.
• 32:21
  Speaker 3: Episode to the next. Again, style was, even in his films,
• 32:25
  Speaker 3: he made fun of himself for like, I didn't move
• 32:27
  Speaker 3: the camera. You know, my style was all my writing.
• 32:30
  Speaker 3: Like he didn't really focus so much on the visual
• 32:33
  Speaker 3: end of it. And I guess that's fine for TV now.
• 32:36
  Speaker 3: So it, I don't know. He's doing fine. Whatever.
• 32:39
  Speaker 2: Yeah, so hopefully maybe Clerks 3 is kind of a
• 32:41
  Speaker 2: little bright spot, like maybe this is a bit of
• 32:43
  Speaker 2: a return.
• 32:43
  Speaker 3: I would hope.
• 32:44
  Speaker 2: There have been some directors who have had their low points,
• 32:47
  Speaker 2: and then all of a sudden they get inspired again.
• 32:49
  Speaker 2: They'll turn around and come back. They'll pop another one out,
• 32:52
  Speaker 2: you know, so you never know.
• 32:53
  Speaker 3: Maybe so. I mean, I'm hopeful for him. Yeah, I
• 32:57
  Speaker 3: want good from him, and I like, again, Randall's back.
• 33:00
  Speaker 3: I love that actor who's not really even an actor.
• 33:03
  Speaker 3: That's why he's so good in that first one. He just...
• 33:05
  Speaker 3: Pulled his friend in and was like, hey, you want
• 33:07
  Speaker 3: to do this movie? And he's the best thing about it.
• 33:09
  Speaker 2: All right.
• 33:12
  Speaker 13: We was hitchhiking down a long and lonesome road.
• 33:18
  Speaker 4: All of a sudden, there shined a shiny demon in
• 33:24
  Speaker 4: the middle of the road. And he said.
• 33:28
  Speaker 3: Hey, this is KG of Tenacious D, and you're listening
• 33:31
  Speaker 3: to Movie Meltdown.
• 33:43
  Speaker 2: Well, my next selection here, we were talking about basically
• 33:46
  Speaker 2: clerks being their movie geeks. We're going to the other
• 33:49
  Speaker 2: side of the spectrum. We're music geeks for this one here.
• 33:52
  Speaker 2: All right. High Fidelity is definitely a movie that spoke
• 33:55
  Speaker 2: to me being a music geek. And, of course, I
• 33:57
  Speaker 2: love the book as well. The Nick Morby novel is great.
• 34:00
  Speaker 2: The great thing about it was aside from a couple
• 34:02
  Speaker 2: different cultural references like In Great Britain, Solomon Burke had
• 34:07
  Speaker 2: a much bigger career than he did in the United States.
• 34:09
  Speaker 2: So Solomon Burke is referenced a lot in the book.
• 34:13
  Speaker 2: And in the movie, they change it to Marvin Gaye.
• 34:14
  Speaker 3: Yeah, in the movie, we'd be like, who?
• 34:17
  Speaker 2: I mean, I knew who Solomon Burke was. I feel like.
• 34:20
  Speaker 3: Most people wouldn't have a clue.
• 34:22
  Speaker 2: Yeah, well, a lot of people end up covering his
• 34:24
  Speaker 2: songs and end up making them bigger. Yeah, but we
• 34:26
  Speaker 2: all know who Marvin Gaye is, so we'll just make
• 34:28
  Speaker 2: Marvin Gaye. Other than that, it's a really... You know,
• 34:31
  Speaker 2: great translation. And, of course, we're dealing with a lot
• 34:34
  Speaker 2: of love and relationships. And we're also dealing with a
• 34:37
  Speaker 2: guy who's basically he's a music geek and he likes
• 34:39
  Speaker 2: making his mixtapes and likes going for some songs that
• 34:42
  Speaker 2: fit but not necessarily they're a hit song. So a
• 34:47
  Speaker 2: great choice to end this movie was a Stevie Wonder song.
• 34:51
  Speaker 2: And it's not one like Sunshine of My Life or
• 34:53
  Speaker 2: whatever else. No, no, no. We're taking the end of
• 34:56
  Speaker 2: probably one of his greatest albums, Talking Book, which had
• 34:58
  Speaker 2: Superstition on there. Yeah. But it's, I believe, when I
• 35:02
  Speaker 2: fall in love with you, it'll be forever. A beautiful,
• 35:06
  Speaker 2: wonderful song, but not a single. It's a deep album cut,
• 35:11
  Speaker 2: but that is such an inspired choice to end this
• 35:15
  Speaker 2: movie with Talking... It wasn't written for the film. The
• 35:18
  Speaker 2: song was done in 1972. The movie came out in 2000. So,
• 35:23
  Speaker 2: nowhere really related. But it's just great curation.
• 35:27
  Speaker 3: I think that's what that change was. Because you get
• 35:30
  Speaker 3: even the Scorsese era of directors are still pulling kind
• 35:35
  Speaker 3: of big... I mean, again, he's just going to the
• 35:37
  Speaker 3: Rolling Stones half the time. And like, what are the
• 35:39
  Speaker 3: songs that I love that the Stones do? And he
• 35:41
  Speaker 3: puts them in over and over. But you get to
• 35:43
  Speaker 3: that 90s and 2000s era of the directors that were
• 35:47
  Speaker 3: coming up. And they were like, everybody knows these songs.
• 35:50
  Speaker 3: Let's go for these B sides and let's find these
• 35:52
  Speaker 3: like deep cuts that people don't know and then make
• 35:55
  Speaker 3: it super important to this scene. I'm putting it in.
• 35:57
  Speaker 3: And that's, I think from Tarantino on, everybody else saw
• 36:01
  Speaker 3: that and went, Oh, that is a good idea. And
• 36:02
  Speaker 3: so like now you'll find people and they'll be pulling
• 36:05
  Speaker 3: their stuff. I'm like, I don't know this song and
• 36:07
  Speaker 3: why don't I know this song? Cause it's great. And
• 36:09
  Speaker 3: I'll go back and look into it. Cause that's what
• 36:12
  Speaker 3: we do. We're geeks.
• 36:13
  Speaker 1: Yeah.
• 36:14
  Speaker 2: But it is, you know, I just absolutely, it's one,
• 36:17
  Speaker 2: it's one of those moments. I mean, of course, I
• 36:19
  Speaker 2: was with the movie from the first moment. Yeah. But, yeah,
• 36:23
  Speaker 2: it just absolutely spoke to me. And just using, you know,
• 36:25
  Speaker 2: just picking a great song that wasn't a big hit
• 36:28
  Speaker 2: for Stevie Wonder, but it just perfectly matched. Of course,
• 36:31
  Speaker 2: you know, that film is full of, you know, yeah,
• 36:35
  Speaker 2: you know this artist, but, you know, this is a
• 36:37
  Speaker 2: lesser known song. Because it's a movie about music geeks, nonetheless.
• 36:41
  Speaker 2: So you're going to have a soundtrack that sounds like
• 36:44
  Speaker 2: this kind of guy would have made it.
• 36:45
  Speaker 3: It was curated by somebody who loves music. Yeah.
• 36:47
  Speaker 4: Yeah.
• 36:48
  Speaker 2: So, yeah, I just, that's, of course, it's always one
• 36:51
  Speaker 2: of my favorite Stevie Wonder songs anyway, but it's kind
• 36:52
  Speaker 2: of like when that song, the first notes kind of
• 36:55
  Speaker 2: start coming, I'm like, oh, shit, guys, you don't make
• 36:59
  Speaker 2: me just messed up here.
• 37:00
  Speaker 3: Thank you for this song.
• 37:02
  Speaker 2: Yeah, so, yeah, great choice there.
• 37:05
  Speaker 1: ¶ ¶.
• 37:17
  Speaker 7: Shattered dreams, worthless years.
• 37:24
  Speaker 8: Here am I encased inside a hollow shell. Life began,
• 37:36
  Speaker 8: then was done. Now I stare into a.
• 37:42
  Speaker 4: Cold and empty.
• 37:44
  Speaker 1: I believe when I fall in.
• 37:49
  Speaker 8: Love with you, it won't be forever.
• 38:14
  Speaker 7: I believe when I fall in love this time, it
• 38:18
  Speaker 7: will be forever.
• 38:21
  Speaker 14: Without despair, we will share in the joys of care
• 38:31
  Speaker 14: and will not be weak.
• 38:37
  Speaker 8: What has been must never end.
• 38:44
  Speaker 1: And with the strength we.
• 38:47
  Speaker 6: Have, one be erased.
• 38:52
  Speaker 4: When the truths of.
• 38:54
  Speaker 14: Love are planned and firm, they won't be hard to find.
• 39:00
  Speaker 6: And the words of love I.
• 39:02
  Speaker 1: Speak to you will echo in my mind.
• 39:10
  Speaker 7: I believe when I fall in love with you, it
• 39:15
  Speaker 7: will be forever. I believe when I fall in love
• 39:22
  Speaker 7: with you it will be forever I believe when I
• 39:34
  Speaker 7: fall in love with you it will be forever.
• 39:48
  Speaker 4: I believe when I fall.
• 39:50
  Speaker 9: In love with you It won't be forever I believe
• 39:57
  Speaker 9: when I fall in love with you It won't be
• 40:01
  Speaker 9: forever I believe when I fall in love with you
• 40:11
  Speaker 9: I'm in shape when I fall in love with you,
• 40:14
  Speaker 9: and I'm hoping for a friend.
• 40:16
  Speaker 1: I'm in shape when I fall in love with.
• 40:20
  Speaker 4: You, and I'm hoping for a friend. I'm in shape
• 40:22
  Speaker 4: when I fall in love.
• 40:24
  Speaker 1: With you, and I'm hoping for a friend. I'm in
• 40:29
  Speaker 1: shape when I fall in love with you, and I'm
• 40:32
  Speaker 1: hoping for a friend.
• 40:36
  Speaker 4: I'm in shape when I fall in love with you,
• 40:39
  Speaker 4: and I'm hoping for a friend.
• 40:42
  Speaker 1: I believe that I'm falling in love with you. I
• 40:50
  Speaker 1: believe that I'm falling in love with you.
• 40:59
  Speaker 8: Come on, let's fall in love. Come on, let's fall
• 41:06
  Speaker 8: in love. You're the girl that I really adore. Come on,
• 41:12
  Speaker 8: let's fall in love.
• 41:23
  Speaker 1: Well my next one this maybe tone wise isn't too
• 41:26
  Speaker 1: far off from that way less serious but um again
• 41:30
  Speaker 1: this is a little more of a fun movie for
• 41:33
  Speaker 1: some people.
• 41:52
  Speaker 3: Uh not not high on anybody's resume does have the
• 41:55
  Speaker 3: same star surprisingly uh i'm going with uh what does
• 41:59
  Speaker 3: it take from one crazy summer now this is one
• 42:03
  Speaker 3: of those again when we started throwing this idea out
• 42:06
  Speaker 3: this was maybe the second song that came to me
• 42:09
  Speaker 3: it was like when i think of this movie this
• 42:12
  Speaker 3: song is a tat and i hear like i'll put
• 42:14
  Speaker 3: stuff i'll be playing youtube all day now because it's
• 42:17
  Speaker 3: better than most streaming services. But like whatever thing I pick,
• 42:21
  Speaker 3: a lot of times if it's older, eventually before the
• 42:23
  Speaker 3: day's out, I'll hear this song. And every time I'm like,
• 42:26
  Speaker 3: isn't this the closing theme to that movie?
• 42:29
  Speaker 2: And it is.
• 42:30
  Speaker 3: I think it was even like maybe billed as like,
• 42:32
  Speaker 3: you know, the theme for One Crazy Summer.
• 42:36
  Speaker 2: Yeah.
• 42:36
  Speaker 3: Which again is not the most highly regarded of Cusack's films.
• 42:41
  Speaker 3: But at the time, again, it was another one of
• 42:44
  Speaker 3: those like, just kind of dumb comedies and we got
• 42:47
  Speaker 3: our ragtag group of misfits and sort of a slobs
• 42:50
  Speaker 3: versus snobs kind of a storyline and then so yeah
• 42:54
  Speaker 3: it's playing on a lot of cliche stuff film wise
• 42:58
  Speaker 3: but this one is one of those that like I
• 43:01
  Speaker 3: feel like is it cheesy yes But if you're okay
• 43:05
  Speaker 3: with that, like it is so perfectly executed for that
• 43:09
  Speaker 3: kind of cheesy song that I'm like, when I hear it,
• 43:12
  Speaker 3: I'm just like, this is just really like, this is
• 43:14
  Speaker 3: top form. If you like this kind of cheesy music,
• 43:17
  Speaker 3: it's like perfectly done.
• 43:19
  Speaker 15: The two of us are one of a kind.
• 43:24
  Speaker 12: Our combination ain't easy to find.
• 43:30
  Speaker 4: Why do I... Get a feeling from you. Things ain't right.
• 43:38
  Speaker 4: Do you need something new? Knowing how both of us.
• 43:43
  Speaker 1: Live leaves us so little to give. If I could
• 43:55
  Speaker 1: grow wings, I would do anything just to keep you
• 44:01
  Speaker 1: with me. Can't you see? If I could fly, I
• 44:07
  Speaker 1: would give you the sky.
• 44:10
  Speaker 4: Don't you make that mistake. What does it take? It's
• 44:19
  Speaker 4: not like I've been mean to you. It's not like
• 44:25
  Speaker 4: I got something better to do.
• 44:29
  Speaker 11: The life I.
• 44:30
  Speaker 4: Live, you'll never understand.
• 44:35
  Speaker 7: If you fly with me, we'll never have to land.
• 44:40
  Speaker 4: It's easy to land.
• 44:56
  Speaker 1: I would do anything just to keep you with me.
• 45:02
  Speaker 4: Can't you see?
• 45:04
  Speaker 1: If I could fly.
• 45:07
  Speaker 4: I would give you the sky. Don't you make that mistake.
• 45:12
  Speaker 1: Is love that mean?
• 45:15
  Speaker 16: What does it take? Knowing how both of us am.
• 46:12
  Speaker 4: If I could fly high, I would give you the sky.
• 46:16
  Speaker 1: Don't you make that mistake.
• 46:20
  Speaker 4: What does it take?
• 46:22
  Speaker 1: If I could grow wings, I would do anything just
• 46:25
  Speaker 1: to keep you with me.
• 46:28
  Speaker 4: Can't you see?
• 46:29
  Speaker 1: If I could fly high, I would give you the sky. Well,
• 46:47
  Speaker 1: Savage Steve was such an inspired director.
• 47:13
  Speaker 2: And, like, you know, because this was, you know, he did,
• 47:15
  Speaker 2: you know, Better Off Dead, and then One Crazy Summer
• 47:17
  Speaker 2: was his next movie.
• 47:18
  Speaker 11: Yeah.
• 47:19
  Speaker 2: And, I mean, yeah, this guy was just like, I'm
• 47:21
  Speaker 2: going to throw in a lot of 80s cheese where else,
• 47:23
  Speaker 2: but there's going to be some weird, absurd kind of
• 47:25
  Speaker 2: comedy thrown in here. Just some real strange stuff.
• 47:29
  Speaker 4: In both of those movies.
• 47:31
  Speaker 2: Yeah, and it just, it worked. I mean, you know,
• 47:35
  Speaker 2: Better Off Dead, I think, for me, is... I love
• 47:37
  Speaker 2: One Crazy Summer, but Better Off Dead for me is
• 47:40
  Speaker 2: my favorite of his movies. Yeah. It's just, yeah, to
• 47:43
  Speaker 2: get John Cusack to start in those movies.
• 47:46
  Speaker 3: Those type of movies.
• 47:47
  Speaker 2: Yeah, it's like, yeah, that's a lot of fun.
• 47:50
  Speaker 3: All right.
• 47:51
  Speaker 2: My next one here, you know, of course, what kind
• 47:54
  Speaker 2: of got me started with this whole idea is, for me,
• 47:57
  Speaker 2: the 80s is the golden age of, a song that
• 48:02
  Speaker 2: was written for the movie that closes out the movie.
• 48:05
  Speaker 2: It doesn't matter what genre we're doing. We're talking action, horror, romance,
• 48:09
  Speaker 2: whatever else. But the 80s was just a golden age
• 48:12
  Speaker 2: of like, we're going to have a song that ends
• 48:14
  Speaker 2: this movie, and hopefully this song will be a hit
• 48:17
  Speaker 2: song to give us more money. That's what we want.
• 48:20
  Speaker 2: Because we love money. But for me, there were so
• 48:24
  Speaker 2: many action films, especially horror movies, that had a song
• 48:27
  Speaker 2: written for it. But one of my, of course, I'm
• 48:30
  Speaker 2: a huge Schwarzenegger guy. Grew up in Schwarzenegger and Stallone
• 48:33
  Speaker 2: movies and a lot of those beefcake dudes. Oh, yeah.
• 48:36
  Speaker 2: But Commando was probably one of my favorites of his
• 48:39
  Speaker 2: because it's just such a pure film. Like, we're just,
• 48:42
  Speaker 2: you know, we got some comedy thrown in there, some
• 48:44
  Speaker 2: real stuff. But we're just, we're kicking a lot of ass,
• 48:46
  Speaker 2: blowing up a lot of stuff there. And We Fight
• 48:50
  Speaker 2: for Love, also known as Somehow, Somewhere, Someone Must Pay.
• 48:55
  Speaker 2: because that was written on the poster, and they're like, yeah,
• 48:57
  Speaker 2: that's a good song title. And then it was retitled
• 48:59
  Speaker 2: We Fight For Love. I don't know why. Both lines
• 49:02
  Speaker 2: appear in the song. But an odd choice, though. The
• 49:06
  Speaker 2: band's Power Station. Of course, we know them for their
• 49:09
  Speaker 2: bang-a-gong and communication.
• 49:11
  Speaker 3: That's one of those I put on all the time now.
• 49:14
  Speaker 3: It's funny that, I i mean to me it's that
• 49:16
  Speaker 3: one album mostly that was like the outlier that i
• 49:19
  Speaker 3: don't think i was as familiar with but i played
• 49:22
  Speaker 3: that cassette kids you'll have to ask your grandparents about
• 49:25
  Speaker 3: it uh yeah i had that that one and played
• 49:28
  Speaker 3: it to death back in the day and i can
• 49:30
  Speaker 3: still like just type it in and be like just
• 49:31
  Speaker 3: play the album don't even switch to anybody else just
• 49:34
  Speaker 3: play it straight through yeah.
• 49:35
  Speaker 2: Well, this particular song doesn't actually appear on that record.
• 49:40
  Speaker 2: For the longest time, the only way you could get
• 49:42
  Speaker 2: We Fight For Love is by watching the Commando movie.
• 49:46
  Speaker 3: Which you did many times.
• 49:48
  Speaker 2: Which I did many times, yeah. Or you can find
• 49:50
  Speaker 2: it on YouTube as well.
• 49:51
  Speaker 3: Now you do, yeah.
• 49:52
  Speaker 2: Yeah. I think eventually, like in the early 90s, when
• 49:57
  Speaker 2: they reissued the album overseas, and they reissued the album
• 50:00
  Speaker 2: here in the States as well, but the British version
• 50:03
  Speaker 2: has that song on their first record. It's not on
• 50:07
  Speaker 2: the American version. But also, interestingly enough, Robert Palmer does
• 50:11
  Speaker 2: not sing on that, because he was the the recognized
• 50:14
  Speaker 2: singer for power station. Uh, this is Michael Debar who
• 50:17
  Speaker 2: has had a number of bands throughout the seventies and
• 50:20
  Speaker 2: the eighties.
• 50:21
  Speaker 3: Also was his replacement. Cause I remember them going on tour.
• 50:25
  Speaker 3: That was such a weird little dynamic. Cause that album
• 50:28
  Speaker 3: was huge. And by the time they went to go
• 50:32
  Speaker 3: on tour for that album, the lead singer wasn't even
• 50:34
  Speaker 3: in the band.
• 50:35
  Speaker 2: Yeah. Cause his own solo career taken off.
• 50:38
  Speaker 8: Yeah.
• 50:38
  Speaker 15: Yeah.
• 50:38
  Speaker 3: I remember them coming here that summer and like, Somewhere
• 50:43
  Speaker 3: I had the ad for it because it's like, the
• 50:45
  Speaker 3: four guys, and I'm like, who's this Michael DeBar?
• 50:49
  Speaker 2: Well, see, I knew him because he had a band
• 50:52
  Speaker 2: in the 70s called Detective, which they were going to
• 50:54
  Speaker 2: be a big thing. And then, of course, he did
• 50:55
  Speaker 2: a lot of acting, too. He was on an episode
• 50:57
  Speaker 2: of WKRP. Now he's on it.
• 50:59
  Speaker 3: I've seen him way more as an actor over the years.
• 51:02
  Speaker 3: There's so many TV shows that you're like, of course,
• 51:05
  Speaker 3: and here's Michael DeVar. So, yeah, now you see him
• 51:07
  Speaker 3: constantly in acting roles.
• 51:09
  Speaker 2: Yeah, and it was great because a lot of times,
• 51:11
  Speaker 2: especially in the 70s and 80s when he'd play a–
• 51:13
  Speaker 2: a role he was playing a rock star and it
• 51:16
  Speaker 2: was it was great authenticity because like well you're kind
• 51:18
  Speaker 2: of already a musician and a rock star so you
• 51:21
  Speaker 2: look the part so there you go uh but yeah
• 51:23
  Speaker 2: he was uh famously married at one point to the
• 51:25
  Speaker 2: infamous pamela debar who she was the ultimate groupie and uh.
• 51:30
  Speaker 3: I think that's where i knew the name more was
• 51:33
  Speaker 3: like i they'd already made a big deal out of
• 51:35
  Speaker 3: her book at that point by the time i put
• 51:37
  Speaker 3: the two together and i was like That's the only
• 51:39
  Speaker 3: other DeBar I know is the guy who was touring
• 51:42
  Speaker 3: with Power Station.
• 51:43
  Speaker 2: Yeah.
• 51:43
  Speaker 3: So, yeah, eventually I was like, well, that, I guess,
• 51:45
  Speaker 3: would make sense, her being groupie girl that she is.
• 51:48
  Speaker 3: You're going to eventually hook up with that guy.
• 51:51
  Speaker 11: Yeah.
• 51:51
  Speaker 2: But it just, yeah, We Fight for Love is a
• 51:53
  Speaker 2: great rock song. It's very 80s, but it just, like,
• 51:57
  Speaker 2: it matches. But it just, like I said, it's hilarious,
• 52:00
  Speaker 2: but they had retitled it. Ah, we'll just, you know,
• 52:03
  Speaker 2: We Fight for Love appears in the song, too. We'll
• 52:04
  Speaker 2: just retitle that because Somehow, somewhere, someone must pay is
• 52:08
  Speaker 2: a really long title for a rock song.
• 52:11
  Speaker 3: Nah, it's fine.
• 52:12
  Speaker 2: Yeah, Michael DeBarlu, like, yeah, we'll just title it that
• 52:15
  Speaker 2: because that says that on the movie poster. I don't want.
• 52:18
  Speaker 3: To have to think of any other words. Good enough.
• 52:21
  Speaker 2: Yeah, but yeah, I still love this song today.
• 52:43
  Speaker 10: We'll protect you Nothing can.
• 52:48
  Speaker 1: Hurt you No storm clouds gathering terrifying I am a
• 52:54
  Speaker 1: mountain Surrounded by your love You are a fountain That
• 53:00
  Speaker 1: dreams are made.
• 53:02
  Speaker 4: Of We.
• 53:05
  Speaker 1: Fight for love We fight for love.
• 53:23
  Speaker 4: Somewhere, somehow, someone.
• 53:28
  Speaker 1: Somewhere, somehow, someone. I fight with fire.
• 53:41
  Speaker 10: As I watch them conspire to blow my world.
• 53:53
  Speaker 1: We fight for love. We fight for love. We fight
• 54:15
  Speaker 1: for love. Somewhere, somehow, someone Somewhere, somehow, someone Somewhere, somehow, someone.
• 54:50
  Speaker 4: Somewhere, somehow, someone, you feel it in me.
• 55:32
  Speaker 1: Somewhere Somehow Someone Somewhere Somehow Someone Somewhere, somehow, someone.
• 56:09
  Speaker 4: Somewhere, somehow, someone.
• 56:41
  Speaker 3: So as a semi-tie-in, I brought this up on a
• 56:44
  Speaker 3: recent episode. Have you ever seen Sugartown?
• 56:49
  Speaker 2: No, I don't think I have.
• 56:50
  Speaker 3: It is directed by recent guest Allison Anders, and I
• 56:54
  Speaker 3: went back to watch it. And there were several of her,
• 56:57
  Speaker 3: you know, her IMDb listings. And I was like, yeah,
• 56:59
  Speaker 3: I need to watch that. I want to watch that.
• 57:00
  Speaker 3: And I saw that one and I wasn't familiar with
• 57:02
  Speaker 3: the title, but I clicked on the cast and immediately
• 57:05
  Speaker 3: like top list is John Taylor. And I was like, like.
• 57:09
  Speaker 3: bassist john taylor and yes that's him and moving into
• 57:13
  Speaker 3: acting but i watched it and he's he's an aging
• 57:16
  Speaker 3: rock star was in a super big band back in
• 57:19
  Speaker 3: the day so he's playing kind of john taylor okay
• 57:22
  Speaker 3: and he the band that he's you know they they're
• 57:25
  Speaker 3: on their album when they're working on it trying to
• 57:26
  Speaker 3: get the sound just right and it's terrible by the
• 57:29
  Speaker 3: way it's supposed to be within the context of the
• 57:32
  Speaker 3: story uh but the lead singer is michael debar so
• 57:36
  Speaker 3: he also brought in his former somewhat Again, depending on
• 57:40
  Speaker 3: when you got the band together. So yeah, he is
• 57:43
  Speaker 3: the lead singer of this band that he's in. And
• 57:46
  Speaker 3: as a side, if you need incentive of another thing
• 57:50
  Speaker 3: to see Michael DeBarra, He's so full of himself rock
• 57:53
  Speaker 3: star and thinks all the girls are into him. But again,
• 57:57
  Speaker 3: this is like well into the 2000s. So it's like
• 58:00
  Speaker 3: he's already pretty aging Michael DeBar. So he's still hitting
• 58:03
  Speaker 3: on 20-year-old girls and they're like, okay, grandpa, what are
• 58:06
  Speaker 3: you doing? They're just not even interested, really. They don't
• 58:09
  Speaker 3: even realize he's hitting on them. They're just like, hey,
• 58:12
  Speaker 3: my mom's really into you, man. But the little gimmick
• 58:16
  Speaker 3: on there, because it's sort of vignette, so like different
• 58:18
  Speaker 3: people's lives all mixed together. But their story as it
• 58:21
  Speaker 3: goes on is they are trying to get the funding
• 58:25
  Speaker 3: to finish putting this album together. And most of the
• 58:28
  Speaker 3: other stuff falls through. So this guy's got, oh, I've
• 58:31
  Speaker 3: got this investor. And she really wants to get into music.
• 58:35
  Speaker 3: And it's Beverly D'Angelo. And she decides, she sees who's
• 58:41
  Speaker 3: in the band. She's like, oh, him. You want to
• 58:43
  Speaker 3: get the funding? Send him on over to me.
• 58:47
  Speaker 2: Oh, no.
• 58:48
  Speaker 3: So, yeah, that's a fun little scenario. Michael DeBar and
• 58:51
  Speaker 3: Beverly D'Angelo working out the finances, we'll say.
• 58:55
  Speaker 2: All right. Just banging it out over dinner.
• 58:59
  Speaker 3: We'll say that, sure. So, that led me to another
• 59:05
  Speaker 3: one that I thought, if anybody, you would want to
• 59:07
  Speaker 3: put this together. That's what came of this idea. as
• 59:10
  Speaker 3: I started putting this list together is I came up
• 59:12
  Speaker 3: with five other episodes that I wanted to put together.
• 59:15
  Speaker 3: One of which was, and this was kind of a
• 59:17
  Speaker 3: good leadiness down that road for the future episode. I'm
• 59:21
  Speaker 3: assuming you'd be okay with putting together a episode that
• 59:25
  Speaker 3: is entirely about action movie weird side songs that came
• 59:30
  Speaker 3: it's because i like immediately thought it's like oh yeah
• 59:32
  Speaker 3: that one and that one and why was it such
• 59:35
  Speaker 3: a thing that like action movies that shouldn't have had
• 59:37
  Speaker 3: a weird schmaltzy song in the middle of it kind
• 59:40
  Speaker 3: of did and then other ones would want to go
• 59:42
  Speaker 3: super like hardcore rock and roll kind of version so
• 59:46
  Speaker 3: I feel like we could easily come up with an
• 59:48
  Speaker 3: entire episode of this.
• 59:49
  Speaker 2: Oh, yeah. Well, I've got one definite and an alternate
• 59:53
  Speaker 2: on my list that basically a rock band specifically was
• 59:56
  Speaker 2: hired to write the soundtrack for the movie. Yeah. And yes,
• 1:00:00
  Speaker 2: there are ballads that are included in there. And one
• 1:00:05
  Speaker 2: specific soundtrack, basically the movie did not work out very
• 1:00:08
  Speaker 2: well and the band didn't work out very well. So
• 1:00:10
  Speaker 2: it was kind of gone. Yeah. The other movie, basically,
• 1:00:14
  Speaker 2: the movie itself is popular in cult audiences. Of course.
• 1:00:18
  Speaker 2: The band, of course, is a classic.
• 1:00:22
  Speaker 3: I feel like we should put all these on the
• 1:00:25
  Speaker 3: back burner. What we don't use today. We've got a
• 1:00:28
  Speaker 3: whole other episode waiting for us.
• 1:00:30
  Speaker 2: Oh, yeah. Well, basically, since we're talking about that, the
• 1:00:33
  Speaker 2: one I will bring up that is my definite on
• 1:00:35
  Speaker 2: the list is a little movie called Flash Gordon. A
• 1:00:39
  Speaker 2: childhood favorite of mine. It's a love it or leave
• 1:00:41
  Speaker 2: it for a lot of people, especially younger audiences today.
• 1:00:44
  Speaker 2: It did not age well. It looks like a italian
• 1:00:47
  Speaker 2: nightmare uh you know because it's very gaudy and colorful
• 1:00:51
  Speaker 2: and just.
• 1:00:51
  Speaker 3: A comic book come to life it really is yeah
• 1:00:54
  Speaker 3: i i.
• 1:00:55
  Speaker 2: Think this was far better executed this way than what
• 1:00:57
  Speaker 2: they try to do in the 90s with dick tracy
• 1:00:59
  Speaker 2: with kind of the same thing like everything's brightly overly colorful.
• 1:01:02
  Speaker 3: I like dick tracy more than a lot of people
• 1:01:04
  Speaker 3: but but i guess it's maybe depends it's a preference
• 1:01:08
  Speaker 3: because i read flash gordon comics and i didn't have
• 1:01:10
  Speaker 3: much to do with dick tracy so there you go
• 1:01:13
  Speaker 3: I feel like they both work, but they're so different
• 1:01:15
  Speaker 3: tone-wise that, like, yeah.
• 1:01:18
  Speaker 2: Definitely. Flash Gordon tried to be much more serious while
• 1:01:22
  Speaker 2: Dick Tracy is fully aware of it being tongue-in-cheek, which
• 1:01:25
  Speaker 2: I think, again, why it didn't work for me. I
• 1:01:27
  Speaker 2: don't like movies that are self-aware. I want you to
• 1:01:31
  Speaker 2: be completely blissfully... It depends on the movie.
• 1:01:33
  Speaker 3: Sometimes it works, but again, it's like a small percentage
• 1:01:37
  Speaker 3: of when they're trying to do that.
• 1:01:39
  Speaker 2: Yeah, well, for me, for a self-aware movie like Rubber,
• 1:01:42
  Speaker 2: works perfectly. It's a self-aware movie because you're buying the
• 1:01:45
  Speaker 2: ticket as soon as you go in there. But, you know,
• 1:01:47
  Speaker 2: Attack of the Killer Tomatoes should not be self-aware and
• 1:01:51
  Speaker 2: it's beautiful that it isn't. And that's why it's a favorite.
• 1:01:53
  Speaker 2: But anyway, back to what I was talking about here.
• 1:01:55
  Speaker 2: Flash Gordon here. So, we all know the theme from
• 1:01:58
  Speaker 2: Flash Gordon. The Flash, ah, you know, that kind of thing.
• 1:02:01
  Speaker 2: But for me, the end of the movie, the best
• 1:02:03
  Speaker 2: song in that soundtrack was Hero. Because it's, you know,
• 1:02:08
  Speaker 2: has like a great drum open, you know, just, you know,
• 1:02:12
  Speaker 2: Roger Taylor. Was it Roger Taylor?
• 1:02:14
  Speaker 3: No, that's Duran Duran.
• 1:02:17
  Speaker 2: No, John Taylor's Duran Duran. Roger Taylor is that drummer.
• 1:02:19
  Speaker 2: Roger is also. There's three Taylors in Duran Duran. Yeah,
• 1:02:22
  Speaker 2: there's Andy and John Taylor's Duran Duran. But yeah, Roger Taylor,
• 1:02:27
  Speaker 2: no relation. They're all no relation.
• 1:02:29
  Speaker 4: Which is weird.
• 1:02:30
  Speaker 2: Well, they're all, I guess Taylor's a popular name.
• 1:02:33
  Speaker 3: Yeah, just a random name.
• 1:02:34
  Speaker 2: Anyway, but yeah, Roger Taylor's just got a great drum open.
• 1:02:38
  Speaker 2: But yeah, just, you know, and then, you know, Brian
• 1:02:40
  Speaker 2: May comes in with the guitar, just as complete. It's
• 1:02:43
  Speaker 2: probably one of Queen's most rocking songs next to like,
• 1:02:47
  Speaker 2: stone cold crazy or dragon attack or whatever else we're
• 1:02:50
  Speaker 2: just like it just just comes in and hits you
• 1:02:52
  Speaker 2: in the face hard yeah but of course the lyrics
• 1:02:55
  Speaker 2: like you know so you feel like ain't nobody you
• 1:02:56
  Speaker 2: know like this is the end of the story well
• 1:02:58
  Speaker 2: i'll tell you my friend this is more than the
• 1:03:00
  Speaker 2: end you know it's just kind of just great inspirational
• 1:03:03
  Speaker 2: lyrics you're you're going out of the movie like you
• 1:03:05
  Speaker 2: know what i'm gonna go get on a rocket ship
• 1:03:07
  Speaker 2: and just go take off and just conquer universe and
• 1:03:11
  Speaker 2: help out some people because i'm a fucking hero too
• 1:03:13
  Speaker 2: you know it's It just stirs you still. And then,
• 1:03:17
  Speaker 2: of course, they have, like, you know, there's a couple
• 1:03:19
  Speaker 2: different remixes. Like, they have, like, some, you know, movie
• 1:03:22
  Speaker 2: stuff kind of thrown in, some score. They kind of
• 1:03:24
  Speaker 2: go in and put out a middle part of it,
• 1:03:26
  Speaker 2: and then it comes right back at the end. Yeah.
• 1:03:28
  Speaker 2: Or they got, like, the much shorter version, which basically
• 1:03:30
  Speaker 2: is a pretty short version. It's kind of, you know,
• 1:03:32
  Speaker 2: just rocks out. But, yeah, to me, it's like, you know,
• 1:03:36
  Speaker 2: come for the Flash Gordon theme, stay for your own.
• 1:04:49
  Speaker 1: Yes, you're a.
• 1:05:06
  Speaker 4: Hero!
• 1:05:25
  Speaker 1: Thank you. you score every one of.
• 1:06:27
  Speaker 3: Us That is one of those, I mean, your lead
• 1:07:00
  Speaker 3: singer always gets all the attention in most bands. And
• 1:07:03
  Speaker 3: rightfully so. He's one of the greatest frontmen ever. But
• 1:07:07
  Speaker 3: it is one of those sometimes it'll be on the radio,
• 1:07:09
  Speaker 3: any random song, and I'll just be like, Brian May
• 1:07:12
  Speaker 3: will kick in with something. I'm just like, man, he's amazing.
• 1:07:17
  Speaker 2: They were such a force to be reckoned with as
• 1:07:20
  Speaker 2: a band because each member had their moments to shine
• 1:07:24
  Speaker 2: in a lot of hit songs that they had. Yeah.
• 1:07:26
  Speaker 2: And I mean, it's like, you know, you can't think
• 1:07:27
  Speaker 2: of another one bites the dust of that bass line. Yeah.
• 1:07:30
  Speaker 2: I mean, that's John Deacon just kicking ass right there.
• 1:07:33
  Speaker 2: So everybody had their moments to contribute. Yeah.
• 1:07:35
  Speaker 8: Yeah.
• 1:07:35
  Speaker 2: That's what just made them just a so, you know,
• 1:07:38
  Speaker 2: when Freddie passed, like it's just hard to recreate that band.
• 1:07:41
  Speaker 5: Yeah.
• 1:07:41
  Speaker 2: We've got, you know, the American Idol.
• 1:07:42
  Speaker 3: They keep trying. I know.
• 1:07:43
  Speaker 1: Yeah.
• 1:07:44
  Speaker 2: They got the American Idol dude, which he sounds.
• 1:07:45
  Speaker 3: He's not bad.
• 1:07:46
  Speaker 2: He sounds really good, but it's just, it's, it's not
• 1:07:48
  Speaker 2: the same thing.
• 1:07:50
  Speaker 3: With any band, I feel like just. it's okay when
• 1:07:53
  Speaker 3: it's more of like a tribute, but like when they
• 1:07:55
  Speaker 3: still try to continue as a band and many key
• 1:07:58
  Speaker 3: members are gone, especially like lead singer is just such
• 1:08:02
  Speaker 3: a signature sound that like you almost can't swap out.
• 1:08:05
  Speaker 3: I know it's been done a few times successfully, but
• 1:08:08
  Speaker 3: for the most part, it's just, just get yourself a
• 1:08:10
  Speaker 3: new band name and like, just if you, the rest
• 1:08:12
  Speaker 3: of you want to play together, that's cool, but don't
• 1:08:14
  Speaker 3: try to be something that's gone. But sometimes they make
• 1:08:17
  Speaker 3: it work.
• 1:08:18
  Speaker 2: Like, yeah, I mean, they are basically a nostalgia band
• 1:08:20
  Speaker 2: at this point. You know, they're, they're, They tried doing
• 1:08:22
  Speaker 2: new music at one point.
• 1:08:23
  Speaker 3: Nobody cares. Just play the hits. Just play the hits. Well,
• 1:08:29
  Speaker 3: on this one, again, it's mostly because it's going out
• 1:08:35
  Speaker 3: in a very fun way and the song itself is
• 1:08:40
  Speaker 3: relatively silly, but at the same time, so is the movie.
• 1:08:43
  Speaker 3: And it's so, like the message it's giving you is
• 1:08:46
  Speaker 3: so perfectly tailored to this movie. This would be Two
• 1:08:51
  Speaker 3: heads are better than one by Power Tool from Bill
• 1:08:56
  Speaker 3: and Ted's Excellent Adventure.
• 1:08:57
  Speaker 2: Yes, sir. Love this song.
• 1:09:15
  Speaker 1: Well, I remember the sparks that flew in the summer
• 1:09:19
  Speaker 1: of 79. My brother went wild for a pretty girl's smile,
• 1:09:26
  Speaker 1: but he didn't care that she was mine.
• 1:09:31
  Speaker 4: We fought each other like never before, and beat till
• 1:09:35
  Speaker 4: we were black and blue. And when we told her
• 1:09:39
  Speaker 4: it was time, she made up her mind. She said,
• 1:09:42
  Speaker 4: I've had it with the four of you. That was
• 1:09:47
  Speaker 4: when the pact was made.
• 1:09:50
  Speaker 1: No woman could sever.
• 1:09:51
  Speaker 4: We swore it forever for the rest of our lives.
• 1:09:55
  Speaker 4: We would stick together forever.
• 1:10:03
  Speaker 1: Cause two heads are never the one.
• 1:10:05
  Speaker 4: It's double the pleasure, baby. It's triple the fun. I
• 1:10:09
  Speaker 4: said Two heads are.
• 1:10:10
  Speaker 1: Better than one. It'll make you come down.
• 1:10:16
  Speaker 4: Two heads are better than one.
• 1:10:24
  Speaker 1: When we found ourselves in Vegas, the city of sin
• 1:10:28
  Speaker 1: We were restless and looking to play When this little
• 1:10:33
  Speaker 1: black dolly in the hotel lobby Blew a kiss as
• 1:10:37
  Speaker 1: she walked out of way She said, I'm feeling kind
• 1:10:42
  Speaker 1: of lonely, and gave us a wink. Feeling bold, we
• 1:10:45
  Speaker 1: expressed our intentions. We said, you're going to have both.
• 1:10:50
  Speaker 4: She said, that's a joke. It takes two.
• 1:10:53
  Speaker 1: Just to get my attention. What's the strange in life?
• 1:11:00
  Speaker 1: That's a part of our lifestyle. I'm gonna tell you, baby,
• 1:11:06
  Speaker 1: just where we stand If you won't let us fall,
• 1:11:13
  Speaker 1: it ain't worthwhile Because two heads are better than one
• 1:11:18
  Speaker 1: It's double the pleasure, triple the fun I said two
• 1:11:20
  Speaker 1: heads are better than one It'll make you come down
• 1:11:25
  Speaker 1: Two heads are better than one We've come this far
• 1:11:31
  Speaker 1: together It's too late.
• 1:11:32
  Speaker 4: For turning back.
• 1:11:35
  Speaker 1: But it's only fair to warn you. Because when you
• 1:11:39
  Speaker 1: rock with the boys, you never go back.
• 1:11:41
  Speaker 4: Hey!
• 1:11:43
  Speaker 1: Hey!
• 1:12:22
  Speaker 4: Two heads are better than one. It's double the pleasure,
• 1:12:26
  Speaker 4: triple the fun.
• 1:12:27
  Speaker 14: I tell you, two.
• 1:12:29
  Speaker 1: Heads are better than one.
• 1:12:34
  Speaker 4: They'll make you come undone. Nothing's better than two heads
• 1:12:38
  Speaker 4: are better than one.
• 1:12:39
  Speaker 1: It's double the pleasure, baby.
• 1:12:41
  Speaker 4: It's triple the fun. Two heads.
• 1:12:53
  Speaker 1: Two heads are better than one Two heads are better
• 1:12:58
  Speaker 1: than one Whoa, whoa.
• 1:13:02
  Speaker 4: Whoa, baby Two heads are better than one.
• 1:13:06
  Speaker 1: Two heads are better than one Whoa, whoa.
• 1:13:12
  Speaker 4: Whoa, baby.
• 1:13:18
  Speaker 3: This is one of those that I remember in the
• 1:13:20
  Speaker 3: theater and like, well, I mean, if there's anything that's
• 1:13:23
  Speaker 3: the perfect song to round out this story about these
• 1:13:26
  Speaker 3: two dorks, here it is. Like, this is such a goofy,
• 1:13:31
  Speaker 3: fun song that also... just just yeah that's it these
• 1:13:36
  Speaker 3: two share a brain.
• 1:13:37
  Speaker 2: Like double the pleasure triple the fun without the other.
• 1:13:41
  Speaker 3: Everything falls apart you two have to be together and
• 1:13:45
  Speaker 3: this song you might as well just have two heads
• 1:13:47
  Speaker 3: in one body because you're one entity bill and ted
• 1:13:51
  Speaker 3: oh yeah you know.
• 1:13:52
  Speaker 2: The fun thing about the bill and ted movies like
• 1:13:54
  Speaker 2: the original bill and ted that's such a fun soundtrack
• 1:13:56
  Speaker 2: filled with nobody oh yeah like none of those bands
• 1:14:00
  Speaker 2: really went on to do anything they were just you
• 1:14:02
  Speaker 2: know Whatever else. The C, the D-listers of the hair
• 1:14:05
  Speaker 2: metal era. Yeah. But then you get to Bill and
• 1:14:07
  Speaker 2: Ted's Bogus Journey, and they go all out. Let's get Kiss.
• 1:14:10
  Speaker 2: Let's get Primus. Firehouse. You know, Winger. You know, just
• 1:14:15
  Speaker 2: all these known bands at the time.
• 1:14:17
  Speaker 3: Yeah, because then they were popular.
• 1:14:19
  Speaker 4: They had funding.
• 1:14:20
  Speaker 2: Yeah. You know, Faith No More's on there. You know,
• 1:14:22
  Speaker 2: stuff like that. All that kind of shit. And then, like,
• 1:14:24
  Speaker 2: That movie didn't do as well. And while those are
• 1:14:26
  Speaker 2: good songs, I'm kind of like, you almost kind of
• 1:14:28
  Speaker 2: went too much. You know, it's like, we like the
• 1:14:30
  Speaker 2: little indie.
• 1:14:31
  Speaker 3: I mean, that's most, again, that's back to Kevin Smith.
• 1:14:34
  Speaker 3: Your indie one has all these nobodies and it's really cool.
• 1:14:37
  Speaker 3: I really like that second one, but it's like, it's
• 1:14:40
  Speaker 3: a huge studio push. And like, you've got nothing but
• 1:14:43
  Speaker 3: recognizable bands when suddenly you've got.
• 1:14:45
  Speaker 2: Well, it is just bogus journey is while it's fun,
• 1:14:49
  Speaker 2: it's not as fun. Yeah.
• 1:14:53
  Speaker 3: I've always felt that there's a lot of defenders lately.
• 1:14:55
  Speaker 3: I feel like in the last couple years, I've found
• 1:14:57
  Speaker 3: this undercurrent out there in the internets and everywhere else
• 1:15:01
  Speaker 3: that's just like, no, I like the second one better.
• 1:15:03
  Speaker 3: I'm like, are you just being contrarian?
• 1:15:05
  Speaker 2: Yes.
• 1:15:05
  Speaker 3: Because I remember seeing it at the time and going...
• 1:15:08
  Speaker 3: I don't like this as much. There's elements I do like. Well, basically, death.
• 1:15:12
  Speaker 3: Death makes that movie worth watching.
• 1:15:14
  Speaker 2: Yes, he does.
• 1:15:15
  Speaker 3: Station bugs me. Death puts it right over the top.
• 1:15:19
  Speaker 3: I'm just like, yeah, William Sandler, you nailed it. This
• 1:15:22
  Speaker 3: is what we needed. out of this character and in
• 1:15:24
  Speaker 3: this movie to make it awesome.
• 1:15:26
  Speaker 2: Why, of course, like, you know, the stepmom, Missy, like,
• 1:15:30
  Speaker 2: they get another kind of joke, like, oh, she's moving
• 1:15:32
  Speaker 2: on to the other dad now. That's really funny. That's
• 1:15:34
  Speaker 2: funny there, but, like, some of the best jokes in
• 1:15:37
  Speaker 2: the original movie come from all the other historical figures
• 1:15:40
  Speaker 2: they picked up and everything, and now, basically, you just
• 1:15:42
  Speaker 2: got Death, who's making jokes, and, like, he's kind of
• 1:15:45
  Speaker 2: like a little kid, you know?
• 1:15:47
  Speaker 3: Thankfully, he's really good, because, yeah, you're missing all the
• 1:15:50
  Speaker 3: other cool cameos we had that were from history, not
• 1:15:54
  Speaker 3: really the actors most of the time, just other than
• 1:15:57
  Speaker 3: Jane White.
• 1:15:59
  Speaker 2: Though it was kind of funny, though, to see Alex, oh, Bill.
• 1:16:06
  Speaker 3: Oh, Alex Winter.
• 1:16:07
  Speaker 2: Alex Winter, yeah. You see a lot more of his
• 1:16:09
  Speaker 2: directorial style and his style kind of come through with, like,
• 1:16:13
  Speaker 2: you know, the grandma nightmare scene. Of course, like, you know,
• 1:16:16
  Speaker 2: that looks much like Idiot Box and looks like his
• 1:16:19
  Speaker 2: movie Freaks that came out later on. So you definitely
• 1:16:22
  Speaker 2: see a lot more of his style in the second movie.
• 1:16:25
  Speaker 2: But yeah, I still was like, yeah, the first is
• 1:16:26
  Speaker 2: the best.
• 1:16:27
  Speaker 3: It's not the same as the first one.
• 1:16:28
  Speaker 2: Yeah, first is the best.
• 1:16:29
  Speaker 3: But, you know, everybody likes Bill and Ted.
• 1:16:32
  Speaker 2: Let's see here. I've got a couple of songs left here.
• 1:16:35
  Speaker 2: And it's difficult for me to pick which one I
• 1:16:38
  Speaker 2: want to use last because both are just like, for me,
• 1:16:40
  Speaker 2: like the perfect ending song. Yeah. So I'm going to
• 1:16:44
  Speaker 2: go with my second choice, I guess, first because my
• 1:16:47
  Speaker 2: first choice is Bill. One of my all-time favorite movies.
• 1:16:49
  Speaker 2: One of my all-time favorite songs. So I'm going to
• 1:16:52
  Speaker 2: go next with The Busboys' The Boys Are Back in
• 1:16:56
  Speaker 2: Town from 48 Hours. Definitely, you know, really good choice
• 1:17:02
  Speaker 2: for band. This is a song that was written for
• 1:17:05
  Speaker 2: the movie. And interestingly enough, this is one of the most...
• 1:17:09
  Speaker 2: Popular songs in American music that has not been available
• 1:17:14
  Speaker 2: on its own. Like, you know, if you could find
• 1:17:18
  Speaker 2: a vinyl copy of the 48-Hour Soundtrack, it's on there.
• 1:17:23
  Speaker 2: But it's not appearing streaming or digitally anywhere. The Busboys
• 1:17:27
  Speaker 2: later on did a re-recording of the song for a
• 1:17:30
  Speaker 2: 2000-era record, but it's not the same record. feel yeah
• 1:17:34
  Speaker 2: it's basically guys 30 years down the road re-recording an
• 1:17:38
  Speaker 2: old song but the 82 version you can find on
• 1:17:42
  Speaker 2: youtube or like myself i still have a 45 of
• 1:17:45
  Speaker 2: it of course um and it's really cool because the
• 1:17:48
  Speaker 2: flips out of the 45 is the song clean up
• 1:17:51
  Speaker 2: the town they did for ghostbusters.
• 1:17:52
  Speaker 3: Well that's what i was gonna say this is like
• 1:17:53
  Speaker 3: the era of the busboys because that's why the main
• 1:17:58
  Speaker 3: reason i originally knew them it's funny that of all
• 1:18:00
  Speaker 3: bands in the middle of that at the time, the
• 1:18:04
  Speaker 3: biggest comedy album in the world was that Eddie Murphy win.
• 1:18:07
  Speaker 3: And he named drops the bus boys. Well, because, well,
• 1:18:10
  Speaker 3: because they were huge at the time.
• 1:18:12
  Speaker 2: Well, and then if, uh, if you watch the delirious movie,
• 1:18:15
  Speaker 2: the bus boys opened the show. Um, and cause yeah,
• 1:18:19
  Speaker 2: he basically just became a big fan of the band. Uh,
• 1:18:22
  Speaker 2: cause really what it was that they had their first
• 1:18:24
  Speaker 2: album that had, uh, the song New Shoes, which also
• 1:18:27
  Speaker 2: was in 48 Hours, because basically they performed two songs
• 1:18:30
  Speaker 2: in the movie. Yeah. Because, yeah, of course, you've got
• 1:18:32
  Speaker 2: the one bar they go into originally, where it's the
• 1:18:34
  Speaker 2: very racist bar, and Eddie has their new sheriff in town,
• 1:18:37
  Speaker 2: you know, kind of thing there. But then they go
• 1:18:39
  Speaker 2: in the other bar, and Eddie's like, oh, this is
• 1:18:41
  Speaker 2: my kind of place.
• 1:18:42
  Speaker 5: Yeah.
• 1:18:42
  Speaker 2: Busboys are playing in there. But, yeah, they basically wrote, like,
• 1:18:46
  Speaker 2: three or four songs for the movie, and... I think
• 1:18:51
  Speaker 2: only like two of them ended up getting used. And
• 1:18:52
  Speaker 2: of course, Boys Are Back in Town was one of
• 1:18:54
  Speaker 2: them there. Has no relation to the Thin Lizzy song
• 1:18:57
  Speaker 2: other than the title. The band, like we dug that song.
• 1:19:00
  Speaker 2: But like this is kind of like that's the UK version.
• 1:19:02
  Speaker 2: This is kind of our version. This is our take
• 1:19:04
  Speaker 2: on it. Yeah. But yeah, just, you know, basically I think...
• 1:19:09
  Speaker 2: was it i think it was like the producer maybe
• 1:19:11
  Speaker 2: was a fan of the band or something like that
• 1:19:13
  Speaker 2: and said hey you know i kind of want a
• 1:19:14
  Speaker 2: black rock and roll sounding you know boogie woogie kind
• 1:19:17
  Speaker 2: of band these guys are perfect choice for it and
• 1:19:20
  Speaker 2: then basically that ghostbusters and then delirious i mean just
• 1:19:24
  Speaker 2: they had a triple threat and that just made them
• 1:19:26
  Speaker 2: huge for a.
• 1:19:26
  Speaker 3: Time yep that was the era of the bus.
• 1:19:29
  Speaker 2: Mm-hmm And well-deserved. They're a great, fun band. They still are.
• 1:19:32
  Speaker 2: They're still kind of doing their thing from time to time.
• 1:19:36
  Speaker 2: They haven't released a new record, I think, since the
• 1:19:39
  Speaker 2: early 2000s. They still sound good.
• 1:20:04
  Speaker 1: And you should swear your favorite lady and promise her
• 1:20:07
  Speaker 1: you'll do it right. Damn fat jack, I'll jump back
• 1:20:12
  Speaker 1: and give you a shot of some booze.
• 1:20:14
  Speaker 4: So you can party.
• 1:20:16
  Speaker 1: You should fall down, butt bumpin', rock and roll, rhythm
• 1:20:24
  Speaker 1: and blues. The boys are back in town. The boys
• 1:20:32
  Speaker 1: are back in town. I know that everybody, when they
• 1:20:36
  Speaker 1: hear the music, they'll be doing it on the floor.
• 1:20:40
  Speaker 1: Don't open down the door no more until the band do.
• 1:20:45
  Speaker 4: Play some more.
• 1:20:47
  Speaker 1: So tonight you can dance and romance and do anything
• 1:20:51
  Speaker 1: you feel like doing. So don't look surprised.
• 1:20:54
  Speaker 4: Because you know what I like. And tonight we.
• 1:21:00
  Speaker 1: Ought to do it. Because the boys are back in town.
• 1:21:04
  Speaker 4: The boys are back in town.
• 1:21:13
  Speaker 1: Well, there's a reason everybody should be shaking in the
• 1:21:16
  Speaker 1: house tonight.
• 1:21:17
  Speaker 4: And you should grab your baby lady and promise her
• 1:21:21
  Speaker 4: you'll do it right.
• 1:21:23
  Speaker 1: Get on back, jack the jump back and give you
• 1:21:26
  Speaker 1: a shot of some booze.
• 1:21:28
  Speaker 4: So you can run.
• 1:21:30
  Speaker 1: And do some stomp down, butt bump and rock and roll,
• 1:21:33
  Speaker 1: rhythm and blues, boy. Yeah, yeah, yeah.
• 1:21:51
  Speaker 4: The boys are back in.
• 1:21:55
  Speaker 1: Town. And when the boys are back, there ain't no
• 1:22:06
  Speaker 1: foolin' around.
• 1:22:11
  Speaker 4: Woo!
• 1:22:19
  Speaker 12: This is john spencer and you're listening to movie meltdown.
• 1:22:31
  Speaker 3: Next up for me this is another i was just
• 1:22:34
  Speaker 3: i was kind of rounding things out and i was
• 1:22:36
  Speaker 3: like just trying to think of other movies at that
• 1:22:39
  Speaker 3: time that i was just a really big fan of
• 1:22:41
  Speaker 3: and i'm like what's something that you know i was
• 1:22:43
  Speaker 3: like what what takes us out of this movie and
• 1:22:47
  Speaker 3: um because i knew the soundtrack and i knew most
• 1:22:50
  Speaker 3: of the songs on there but i was like what
• 1:22:52
  Speaker 3: is the closing song and so i went back to
• 1:22:55
  Speaker 3: watch one of my favorite movies summer school and uh
• 1:22:59
  Speaker 3: i remember this being in there but i forgot i
• 1:23:01
  Speaker 3: mean because you've got the big epic you know we've
• 1:23:03
  Speaker 3: got the kids making the grades that's the big thing
• 1:23:05
  Speaker 3: and then our round out is them on the beach
• 1:23:07
  Speaker 3: doing their own little uh special little beach rolling around
• 1:23:11
  Speaker 3: on the sand yeah recreating that classic scene except more
• 1:23:15
  Speaker 3: importantly with wonder mutton bob who gets the real kiss
• 1:23:19
  Speaker 3: and so the plants one on the dog and then
• 1:23:22
  Speaker 3: the immediately kicks in with uh happy by oingo boingo.
• 1:23:38
  Speaker 4: I've got a pretty girl who loves me a lot.
• 1:23:41
  Speaker 4: I've got a fast car that looks real hot.
• 1:23:44
  Speaker 15: I've got a fine pad, old stereo, and I taught
• 1:23:47
  Speaker 15: you well in the.
• 1:23:48
  Speaker 4: School where I go, go, go, go, go. But I'm happy. Happy.
• 1:23:52
  Speaker 1: I'm happy that the world is upside down.
• 1:23:59
  Speaker 15: I'm happy that we all made it through the day.
• 1:24:01
  Speaker 15: When I pick up the phone, I still remember what
• 1:24:03
  Speaker 15: to say.
• 1:24:04
  Speaker 4: I'm happy that my.
• 1:24:05
  Speaker 1: Brain still lives.
• 1:24:10
  Speaker 4: Inside my head.
• 1:24:14
  Speaker 1: Most of all, I think I'm ha-ha-ha-ha-ha-ha-ha-happy.
• 1:24:22
  Speaker 4: I think I'm an angel. I'm happy. I'm happy. I
• 1:24:26
  Speaker 4: read the paper. I saw the news.
• 1:24:29
  Speaker 15: All those people out there singing the blues.
• 1:24:31
  Speaker 4: They get excited. Why don't they just relax? All they
• 1:24:34
  Speaker 4: gotta do is get back, go back, go back and
• 1:24:37
  Speaker 4: be happy. Happy. Happy, but the whole world is ready
• 1:24:42
  Speaker 4: to go.
• 1:24:46
  Speaker 15: Happy that I made it through another day. When I
• 1:24:49
  Speaker 15: pick up the phone, I still remember what to say.
• 1:24:51
  Speaker 4: I'm happy that my brain streams inside my head. Most
• 1:24:55
  Speaker 4: of all, I think I'm happy, happy, happy, happy, happy.
• 1:24:57
  Speaker 1: I'm happy that I ain't dead. I'm happy that I
• 1:25:03
  Speaker 1: ain't dead.
• 1:25:29
  Speaker 4: I know a guy with plenty of loot. You'd never
• 1:25:32
  Speaker 4: catch him in a two-ton suit. He's got gold chains
• 1:25:36
  Speaker 4: and plenty of rings. He told me, buddy, you don't
• 1:25:39
  Speaker 4: man a bang, don't.
• 1:25:40
  Speaker 1: Man a bang if you ain't happy.
• 1:25:44
  Speaker 4: Happy. Happy though the whole world goes upside down.
• 1:25:51
  Speaker 15: Be happy that you made it to another day. When
• 1:25:54
  Speaker 15: you hit the phone, you still remember what to say.
• 1:25:56
  Speaker 15: Be happy that your brain still lives inside your head.
• 1:26:00
  Speaker 4: Most of all, I.
• 1:26:05
  Speaker 1: Think I'm happy.
• 1:26:08
  Speaker 4: So happy.
• 1:26:09
  Speaker 1: I'm happy that the whole thing is ready to go.
• 1:26:14
  Speaker 4: Be happy that the sun is right at the beginning.
• 1:26:17
  Speaker 4: The summer in this world, I still got a friend.
• 1:26:20
  Speaker 1: Be happy that the big one, he has a trouble year.
• 1:26:23
  Speaker 6: Be happy that.
• 1:26:24
  Speaker 1: You're still alive.
• 1:26:25
  Speaker 4: Something, something, something I do forget.
• 1:26:27
  Speaker 1: Oh, I'm happy. Yeah. I'm happy. So happy.
• 1:26:50
  Speaker 4: So happy. So happy. So happy.
• 1:27:10
  Speaker 3: This was one of those that I was like, mostly
• 1:27:12
  Speaker 3: just for like, once again, much like the bus boys,
• 1:27:15
  Speaker 3: this was the time of Oingo Boingo. And like, I
• 1:27:18
  Speaker 3: don't remember paying that much attention to them at the time.
• 1:27:21
  Speaker 3: I just knew them for the one or two songs
• 1:27:23
  Speaker 3: that got played on the radio. But like, as I
• 1:27:26
  Speaker 3: went back over the years and like, they are fascinating.
• 1:27:30
  Speaker 3: Like they're just so different from what was going on
• 1:27:34
  Speaker 3: as far as like radio rock at the time. And like,
• 1:27:36
  Speaker 3: it makes sense when you know who's in the band,
• 1:27:38
  Speaker 3: but yeah, They're just the fact that they have such
• 1:27:42
  Speaker 3: a distinct sound. It's kind of stolen from several other
• 1:27:46
  Speaker 3: types of music and all just sort of melded together
• 1:27:49
  Speaker 3: into this oingo boingo thing.
• 1:27:51
  Speaker 2: Yeah.
• 1:27:52
  Speaker 3: And the fact that they were. no surprise, I guess,
• 1:27:56
  Speaker 3: looking forward, so involved in movies at the time. So, like,
• 1:27:59
  Speaker 3: there's all these soundtracks that they pop up on or
• 1:28:02
  Speaker 3: movies that they're in. They appear in a couple of
• 1:28:05
  Speaker 3: movies at the time as just the house band playing
• 1:28:07
  Speaker 3: in the background. Hey, wait, is that Oingo Boy?
• 1:28:09
  Speaker 2: Yeah, I mean, I definitely remember them from back to school.
• 1:28:12
  Speaker 1: Yeah.
• 1:28:12
  Speaker 2: That's kind of basically them doing Dead Man's Party. I mean, like,
• 1:28:15
  Speaker 2: after watching, I think we rented that movie. You know, we, like,
• 1:28:19
  Speaker 2: the whole family's in there watching it and Dead Man's
• 1:28:21
  Speaker 2: Party comes on and, like, my dad buys that record
• 1:28:23
  Speaker 2: the next day.
• 1:28:24
  Speaker 1: Yeah.
• 1:28:25
  Speaker 3: That's the main one I knew at the time because, again,
• 1:28:28
  Speaker 3: horror dork that I am, was buying all those soundtracks
• 1:28:30
  Speaker 3: that were like spooky Halloween songs and they would half
• 1:28:34
  Speaker 3: the time have Dead Man's Party on there. I'm like,
• 1:28:37
  Speaker 3: that's one of those that it works as a creepy
• 1:28:39
  Speaker 3: Halloween song, but also... it's just an awesome song and
• 1:28:42
  Speaker 3: then you go into their other stuff and I'm like
• 1:28:44
  Speaker 3: they all kind of have a signature sound to them
• 1:28:47
  Speaker 3: but this one doesn't have to be spooky dead man's party.
• 1:28:51
  Speaker 3: Like they don't, that's not their gimmick. Their thing is just,
• 1:28:55
  Speaker 3: here's what we sound like.
• 1:28:56
  Speaker 2: Yeah.
• 1:28:57
  Speaker 3: We're Elfman's. Here's our thing.
• 1:28:58
  Speaker 2: So. And Oingo Boingo is such an interesting band because
• 1:29:02
  Speaker 2: it's definitely, their career is a tale of two different bands.
• 1:29:05
  Speaker 2: Oh yeah. You've got basically the pre forbidden zone Oingo Boingo,
• 1:29:10
  Speaker 2: actually the Knights of the Mystic Oingo Boingo.
• 1:29:13
  Speaker 1: Yeah.
• 1:29:13
  Speaker 3: The original band.
• 1:29:15
  Speaker 2: Yeah, that Richard Elfman, his older brother, started up. And
• 1:29:17
  Speaker 2: Danny was kind of like, he's the guitarist and would
• 1:29:19
  Speaker 2: kind of sing along as well.
• 1:29:21
  Speaker 3: Which, by the way, I hate my little brother. He's
• 1:29:23
  Speaker 3: super talented.
• 1:29:24
  Speaker 2: Yeah.
• 1:29:24
  Speaker 3: But I guess we'll put him in the band with us.
• 1:29:26
  Speaker 2: And then, of course, they do Forbidden Zone, which is
• 1:29:28
  Speaker 2: kind of this really messed up, arthouse, Alice in Wonderland
• 1:29:31
  Speaker 2: kind of movie.
• 1:29:32
  Speaker 4: That I love. Yes.
• 1:29:33
  Speaker 3: And am horrified by at the same time.
• 1:29:35
  Speaker 2: Exactly.
• 1:29:36
  Speaker 3: It is so weird and yet so amazing.
• 1:29:40
  Speaker 2: It's the most wonderful fever dream you'll ever have. Yes.
• 1:29:44
  Speaker 2: But then, of course, Richard leaves the band and decides
• 1:29:46
  Speaker 2: to go into a filmmaking career. Danny takes over as
• 1:29:49
  Speaker 2: the leader of the band, shortens the name, and then
• 1:29:51
  Speaker 2: suddenly the 80s come along, and then it's an entirely
• 1:29:53
  Speaker 2: different band. They're in everything. They are still a weird,
• 1:29:57
  Speaker 2: quirky band, but they're far more accessible than in their
• 1:29:59
  Speaker 2: earlier days.
• 1:29:59
  Speaker 3: They became a marketable version of the weird stuff that
• 1:30:02
  Speaker 3: Richard was doing.
• 1:30:03
  Speaker 2: Yeah then basically danny closes out the 80s becoming film
• 1:30:06
  Speaker 2: scorers and works with this dude named tim burton a
• 1:30:08
  Speaker 2: couple times.
• 1:30:09
  Speaker 3: And well the rest is history well yeah and now
• 1:30:11
  Speaker 3: he does everybody like his sound has changed so much
• 1:30:14
  Speaker 3: that now he is very marketable and like it doesn't
• 1:30:17
  Speaker 3: have to be tim burton weird it doesn't have to
• 1:30:20
  Speaker 3: be that throw in a bunch of human voices like
• 1:30:22
  Speaker 3: he got so cliched with that that i think post
• 1:30:26
  Speaker 3: 2000s he's like well i can do other stuff guys
• 1:30:28
  Speaker 3: so like you start seeing branching out and doing a
• 1:30:31
  Speaker 3: lot of different stuff. So now his stuff is a
• 1:30:33
  Speaker 3: little more like orchestra based and like a little more
• 1:30:37
  Speaker 3: normal score compared to crazy Oingo Boingo stuff.
• 1:30:40
  Speaker 2: Except last year he got back into doing rock music again.
• 1:30:44
  Speaker 3: Oh yeah.
• 1:30:44
  Speaker 2: And he was, what was it? Lollapalooza or Coachella or
• 1:30:48
  Speaker 2: one of the two, one of those big, maybe it
• 1:30:50
  Speaker 2: was Coachella I think. Yeah. He was like one of
• 1:30:52
  Speaker 2: the headliners for that last year and like killed.
• 1:30:55
  Speaker 3: I mean, I wouldn't see that.
• 1:30:57
  Speaker 2: And people were kind of like, Danny Elfman? The whole
• 1:31:00
  Speaker 2: crowd was entranced. I was like, whoa! Of course, he's social,
• 1:31:04
  Speaker 2: he's political, he's bringing back a lot of that stuff
• 1:31:06
  Speaker 2: that Boingo Boingo was. So it's like, what the shit, dude?
• 1:31:09
  Speaker 2: Welcome back. Amazing.
• 1:31:11
  Speaker 3: But it is funny that the older brother leaves to
• 1:31:14
  Speaker 3: go have the real career and you can take over
• 1:31:17
  Speaker 3: my band, kid. And then who becomes the much bigger
• 1:31:19
  Speaker 3: name in film? Much bigger name in film. So yeah, that's, again,
• 1:31:24
  Speaker 3: gotta hate your little brother, don't you?
• 1:31:26
  Speaker 2: Though I did get to spend an evening hanging out
• 1:31:29
  Speaker 2: with Richard Elfman at a film festival.
• 1:31:31
  Speaker 1: As did I.
• 1:31:31
  Speaker 2: Where he was a guest of honor. And he's a
• 1:31:33
  Speaker 2: cool dude and he had himself a wonderful time there.
• 1:31:35
  Speaker 3: He was great. It's funny that we were both there
• 1:31:38
  Speaker 3: and we didn't know at the time.
• 1:31:39
  Speaker 4: I know.
• 1:31:40
  Speaker 2: That's so weird.
• 1:31:40
  Speaker 3: That was a long time ago. Yeah. So yeah, we
• 1:31:42
  Speaker 3: had no idea we were both there. But he was great.
• 1:31:45
  Speaker 3: That was the takeaway. I was like, he was really
• 1:31:47
  Speaker 3: cool and super laid back about everything.
• 1:31:50
  Speaker 2: I probably charged you for your admission because I was
• 1:31:52
  Speaker 2: working the door.
• 1:31:53
  Speaker 3: You probably did.
• 1:31:54
  Speaker 2: Yeah, so my wife and I were working the door
• 1:31:56
  Speaker 2: to that festival.
• 1:31:57
  Speaker 3: Yep, I was there.
• 1:31:59
  Speaker 2: That's crazy.
• 1:32:00
  Speaker 3: That was, yeah, but happy. So much better than the
• 1:32:04
  Speaker 3: Pharrell version. Can we all block that out of our
• 1:32:09
  Speaker 3: memory for life?
• 1:32:10
  Speaker 2: Actually, I did, but there you go. All right, so
• 1:32:15
  Speaker 2: my last movie, of course, you probably got one more here, too.
• 1:32:19
  Speaker 2: My last movie, for me, this is always the first
• 1:32:22
  Speaker 2: song I think of ending a movie that just kind
• 1:32:24
  Speaker 2: of like, it's perfect. It encapsulates the movie. It was
• 1:32:28
  Speaker 2: written for the movie. But for me, it's the Warriors
• 1:32:33
  Speaker 2: and the Joe Walsh song in the city. It just,
• 1:32:36
  Speaker 2: you know, just perfectly encapsulates everything that kind of happens
• 1:32:41
  Speaker 2: in the movie. You get the feeling. And, of course,
• 1:32:43
  Speaker 2: it's period appropriate as well.
• 1:32:45
  Speaker 8: Yeah.
• 1:32:46
  Speaker 2: But yeah, looking up kind of some backstory on this one,
• 1:32:49
  Speaker 2: Barry DeVorsen did the score for the movie and his
• 1:32:53
  Speaker 2: personal friends with Joe Walsh. And at the time, Joe
• 1:32:57
  Speaker 2: was still, he was, you know, hot off, you know,
• 1:32:59
  Speaker 2: doing James Gang stuff, doing his own solo work. And
• 1:33:03
  Speaker 2: this is before he joins the Eagles. Literally, I think
• 1:33:05
  Speaker 2: like the next year he joins the Eagles. And so
• 1:33:09
  Speaker 2: Barry asks him, hey, you know, I'm doing this work
• 1:33:11
  Speaker 2: on this gang movie. can you help me out with
• 1:33:14
  Speaker 2: a song for the end?
• 1:33:15
  Speaker 3: He's like, oh yeah, sure.
• 1:33:16
  Speaker 2: So basically he kind of, you know, gets to the
• 1:33:18
  Speaker 2: script and kind of just sees a little bit of
• 1:33:19
  Speaker 2: what it is. And he's like, well, he's like, I
• 1:33:21
  Speaker 2: spent time in a gang in my youth too. Granted,
• 1:33:23
  Speaker 2: it's like, we were all kind of lame. Like our
• 1:33:25
  Speaker 2: curfew was 730. The James gang, sure. Yeah. But he
• 1:33:28
  Speaker 2: was like, I used a little bit of street gang too.
• 1:33:30
  Speaker 2: It's like, we weren't really that great, but yeah, whatever else.
• 1:33:32
  Speaker 2: But so he had a lot of relation to it.
• 1:33:35
  Speaker 2: And the funny thing that was like, he, you know, like,
• 1:33:38
  Speaker 2: He did live in New York for a while and
• 1:33:40
  Speaker 2: wherever else, but he did grow up in Ohio. So
• 1:33:43
  Speaker 2: it's like not quite the mean streets of New York City.
• 1:33:46
  Speaker 3: Cleveland's a city. Most people don't want to go there either.
• 1:33:50
  Speaker 2: But yeah, just to me, In the City is still
• 1:33:53
  Speaker 2: one of my all-time favorite songs. The Warriors is one
• 1:33:55
  Speaker 2: of my all-time favorite movies. So it was just all
• 1:34:00
  Speaker 2: that in there. It's just wonderful. And the cool thing
• 1:34:02
  Speaker 2: is there's two different versions of this song. There's the
• 1:34:05
  Speaker 2: one that's actually on the soundtrack where it actually starts
• 1:34:07
  Speaker 2: with like subway sounds before the song kicks in. And
• 1:34:11
  Speaker 2: then there's the later version that appears on the Eagles album,
• 1:34:13
  Speaker 2: The Long Run, which basically the band kind of like, well,
• 1:34:17
  Speaker 2: it's like we need another song to fill this one
• 1:34:19
  Speaker 2: in here. And this kind of works for the, so
• 1:34:21
  Speaker 2: we'll just throw this one in here too. Even though
• 1:34:23
  Speaker 2: it's not really an Eagles song or anything like that.
• 1:34:25
  Speaker 2: But we thought I'd do one there. But yeah, that's
• 1:34:27
  Speaker 2: just to me, it's a perfect song, perfect movie. And
• 1:34:30
  Speaker 2: just kind of wraps everything up.
• 1:34:49
  Speaker 1: Out beyond the neon lights. When you live from day
• 1:35:22
  Speaker 1: to day City streets don't have much money When you're
• 1:35:30
  Speaker 1: down that's where you'll stay.
• 1:35:36
  Speaker 4: In the city.
• 1:36:42
  Speaker 1: I know there must be something better.
• 1:37:16
  Speaker 4: In the city. In the city. In the city.
• 1:38:11
  Speaker 3: That movie as a child or however old I was
• 1:38:16
  Speaker 3: at that point, I can't tell you how many times
• 1:38:18
  Speaker 3: I watched that. Like that was an odd obsession that
• 1:38:22
  Speaker 3: there are many of that era for me, but that
• 1:38:24
  Speaker 3: is one of those that like just fascinated with it
• 1:38:27
  Speaker 3: and thought it was the coolest thing. And I, i
• 1:38:30
  Speaker 3: was right as far as i'm concerned yeah i still
• 1:38:32
  Speaker 3: to this day think it's the coolest thing i do
• 1:38:34
  Speaker 3: not like the re-edit Did you watch the re-edit? Okay,
• 1:38:38
  Speaker 3: I'm glad it wasn't just me. Actually, everybody I've talked
• 1:38:40
  Speaker 3: to doesn't like it. So everyone other than the director
• 1:38:42
  Speaker 3: doesn't like the re-edit.
• 1:38:43
  Speaker 2: The reason why I do not own this movie on
• 1:38:46
  Speaker 2: Blu-ray is because I can't find a version that's not
• 1:38:49
  Speaker 2: the re-edit.
• 1:38:49
  Speaker 3: I don't think they put it. Yeah, because I ran
• 1:38:51
  Speaker 3: across it and went, oh, I've been meaning to see this.
• 1:38:53
  Speaker 3: Here's a good excuse for me to get it on Blu-ray.
• 1:38:55
  Speaker 3: And then I watched it and went... wow, I gotta
• 1:38:57
  Speaker 3: get another copy of this because I don't need to
• 1:39:00
  Speaker 3: watch it like this ever again. It just kills the momentum.
• 1:39:04
  Speaker 3: I get the idea of what you're trying to do, Walter,
• 1:39:08
  Speaker 3: but I'm like, it just kills it. I'm fine with
• 1:39:14
  Speaker 3: your little throwing out the beginning of the story and
• 1:39:17
  Speaker 3: where you pulled the idea from a little bit. It
• 1:39:20
  Speaker 3: doesn't need it, but whatever. You could almost throw that in,
• 1:39:23
  Speaker 3: but the in-between stuff just kills.
• 1:39:26
  Speaker 2: The Yeah, they do the comic book paneling sort of
• 1:39:29
  Speaker 2: trick there. I mean, there's literally two moments in the
• 1:39:31
  Speaker 2: movie where it completely, like you said, just kills the
• 1:39:34
  Speaker 2: momentum of two of the most exciting scenes. And one
• 1:39:37
  Speaker 2: of those is the chase with the baseball furies.
• 1:39:39
  Speaker 3: Yeah, the thing that people remember most about that movie
• 1:39:42
  Speaker 3: is probably the furies.
• 1:39:44
  Speaker 2: Yeah, I mean, the only reason to have that DVD
• 1:39:48
  Speaker 2: are the, at the time, current interviews with some of
• 1:39:52
  Speaker 2: the cast members looking back on their time in the movie.
• 1:39:55
  Speaker 2: Debra Van Valkenburg, I know is one of them. Swan,
• 1:40:01
  Speaker 2: a couple of other warriors. They talked about them. So
• 1:40:05
  Speaker 2: that was cool. But that's the only reason to own
• 1:40:08
  Speaker 2: that DVD. The movie, it's like just... Just get the
• 1:40:12
  Speaker 2: regular DVD.
• 1:40:14
  Speaker 3: Find an old one that's super cheap now because that's
• 1:40:16
  Speaker 3: how I buy them.
• 1:40:17
  Speaker 2: Or here's the real weird cusp. Find it streaming anywhere
• 1:40:22
  Speaker 2: because the only version you find is the original 79.
• 1:40:27
  Speaker 2: yeah like you can.
• 1:40:28
  Speaker 3: Normally i want to back the director on all of
• 1:40:30
  Speaker 3: these type of things but sometimes i'm like no you're
• 1:40:33
  Speaker 3: wrong man.
• 1:40:34
  Speaker 2: Yeah i mean it pops up on amazon youtube hbo
• 1:40:37
  Speaker 2: max all the time and it's always the 79 version
• 1:40:41
  Speaker 2: as it should be but but if you want to
• 1:40:43
  Speaker 2: own a copy of it you gotta go find the
• 1:40:45
  Speaker 2: dvd yep not.
• 1:40:47
  Speaker 3: The blu-ray I was not thrilled with my purchase.
• 1:40:51
  Speaker 2: And it pisses me off because Blu-ray even has the
• 1:40:54
  Speaker 2: capacity to have both cuts.
• 1:40:55
  Speaker 3: Why wouldn't you? Well, I guess because he's backing it
• 1:40:58
  Speaker 3: and he wants this to be the definitive version.
• 1:41:01
  Speaker 2: Fuck you, Walter. You're wrong.
• 1:41:05
  Speaker 3: You made a great movie, and then you messed it up.
• 1:41:07
  Speaker 2: Ridley Scott has recut Blade Runner four fucking times. And
• 1:41:11
  Speaker 2: you know what? Each version is available on Blu-ray. As
• 1:41:14
  Speaker 2: a matter of fact, you've got a box set with
• 1:41:16
  Speaker 2: all of them together at once.
• 1:41:17
  Speaker 3: Just put them all out there. You can pick and
• 1:41:20
  Speaker 3: choose which one you want to watch that night.
• 1:41:22
  Speaker 2: It's like, don't pull a George Lucas on us, Walter Hill.
• 1:41:25
  Speaker 2: Give us the damn real version of The Warriors.
• 1:41:27
  Speaker 3: No, I'm changing it. This is the way it's always
• 1:41:29
  Speaker 3: supposed to be.
• 1:41:30
  Speaker 1: It's not.
• 1:41:32
  Speaker 2: Coppola has recut Apocalypse Now. Both versions are available. He
• 1:41:38
  Speaker 2: even just did a new cut of Godfather 3. Both
• 1:41:45
  Speaker 2: versions are available.
• 1:41:47
  Speaker 3: Walter, you made a good movie, but just give us
• 1:41:50
  Speaker 3: the good version.
• 1:41:52
  Speaker 2: Not your version.
• 1:41:56
  Speaker 3: Alright, the next one is I would say the most recent.
• 1:41:59
  Speaker 3: I think this was the one I was like, yeah,
• 1:42:00
  Speaker 3: this is a current movie. Oh, no, wait. That's been
• 1:42:02
  Speaker 3: a long time ago. But this is another one of
• 1:42:05
  Speaker 3: those that I still hear the song pretty regular, if
• 1:42:09
  Speaker 3: not on the radio, because most pop radio just plays
• 1:42:11
  Speaker 3: the last 10 songs that were put out and they
• 1:42:14
  Speaker 3: loop them all day long.
• 1:42:15
  Speaker 2: Yeah.
• 1:42:16
  Speaker 3: But for anywhere else, or again, YouTube, if you put
• 1:42:19
  Speaker 3: it on anything of this type before the day's out,
• 1:42:21
  Speaker 3: you'll get to this song. But this is one that like,
• 1:42:24
  Speaker 3: I knew it and I'm like picturing it as it's
• 1:42:27
  Speaker 3: playing with credits rolling by. And I had to figure
• 1:42:30
  Speaker 3: out what it was from that I, what was making
• 1:42:33
  Speaker 3: that connection for me. And I think it's a couple
• 1:42:36
  Speaker 3: of different ones it's been used for over the years,
• 1:42:39
  Speaker 3: but I was like, nope, That's it. I remember seeing that,
• 1:42:42
  Speaker 3: and I remember, I think that's what laid the groundwork,
• 1:42:46
  Speaker 3: and it's like, now when I hear the song, there's
• 1:42:48
  Speaker 3: credits rolling by in my head.
• 1:42:50
  Speaker 2: Yeah.
• 1:42:50
  Speaker 3: This is Lights by Ellie Goulding, and what I'm pretty
• 1:42:53
  Speaker 3: sure I remember it from originally was Spring Breakers.
• 1:42:57
  Speaker 4: Hmm.
• 1:42:57
  Speaker 3: So if you go and it does a weird little, like,
• 1:43:00
  Speaker 3: because it's already a disturbing movie, as Harmony does. That's
• 1:43:04
  Speaker 3: all of his things as well. That's his go-to. That's
• 1:43:07
  Speaker 3: maybe one of the more normal ones, truthfully.
• 1:43:10
  Speaker 4: Yeah, in comparison.
• 1:43:11
  Speaker 3: And it's still weird, but, like, it's, yeah, maybe a
• 1:43:14
  Speaker 3: little more accessible for regular people.
• 1:43:16
  Speaker 2: There's no underage children having sex in very uncomfortable scenes.
• 1:43:20
  Speaker 3: I mean, they're barely legal and in bikinis the entire time,
• 1:43:22
  Speaker 3: but whatever.
• 1:43:23
  Speaker 2: But they're not 13 year olds.
• 1:43:25
  Speaker 3: And our lead has become even more creepy as the
• 1:43:28
  Speaker 3: years go on. At the time, he was only a
• 1:43:30
  Speaker 3: little creepy. So all that aside, when they finish their
• 1:43:35
  Speaker 3: horrifying story, the credits kick on and this starts going.
• 1:43:39
  Speaker 3: And it's also this little animated thing is like the
• 1:43:41
  Speaker 3: title comes up and he's like hand drawn like. So
• 1:43:44
  Speaker 3: it becomes almost like a weird little animated music video
• 1:43:47
  Speaker 3: of credits as you're watching this and the song's going on.
• 1:43:51
  Speaker 3: So that is one of those that, again, attached itself
• 1:43:54
  Speaker 3: as a credit song, and that's still the way I
• 1:43:58
  Speaker 3: hear it every time it's on.
• 1:43:59
  Speaker 4: I had a.
• 1:44:00
  Speaker 13: Way then Losing it all on my own I had
• 1:44:08
  Speaker 13: a heart then, but the queen has been overthrown And
• 1:44:16
  Speaker 13: I'm not sleeping now, the dark is too hard to
• 1:44:22
  Speaker 13: beat And I'm not keeping now, the strength I.
• 1:44:29
  Speaker 4: Need to push me.
• 1:44:31
  Speaker 17: You show the lights that stop me, turn to stone You're.
• 1:44:36
  Speaker 1: Shining when I'm alone And so I tell myself that
• 1:44:41
  Speaker 1: I'll be strong And dreaming when they're gone Cause they're calling, calling,
• 1:44:50
  Speaker 1: calling me home Calling, calling, calling home You show the
• 1:44:56
  Speaker 1: lights that stop.
• 1:44:57
  Speaker 4: Me, turn to stone.
• 1:45:07
  Speaker 13: I play within my head Touch my own skin And
• 1:45:14
  Speaker 13: hope that I'll still be there And I think.
• 1:45:18
  Speaker 4: Back to when My brother and.
• 1:45:25
  Speaker 17: My sister slept in.
• 1:45:28
  Speaker 1: An unknown place.
• 1:45:30
  Speaker 17: The only time I feel safe. You show the lights
• 1:45:37
  Speaker 17: that stop me turn to stone.
• 1:45:39
  Speaker 4: You shine when I'm alone.
• 1:45:41
  Speaker 1: And so I tell myself. I'll be strong and dreaming
• 1:45:48
  Speaker 1: when they're gone Cause they're calling, calling, calling me home Calling, calling,
• 1:45:58
  Speaker 1: calling home You show the lights that stop me, turn
• 1:46:03
  Speaker 1: to stone.
• 1:46:23
  Speaker 17: You show the lights once, don't be turned to stone.
• 1:46:28
  Speaker 1: You're shining when I'm alone. And so I tell myself
• 1:46:33
  Speaker 1: that I'll be strong. Dreaming when they're gone. Cause they're calling, calling,
• 1:46:43
  Speaker 1: calling me home. Calling, calling, calling home. You show the
• 1:46:48
  Speaker 1: lights once, don't be turned to stone.
• 1:47:13
  Speaker 2: I mean, that's a good song too, but yeah, it
• 1:47:16
  Speaker 2: definitely fits the movie.
• 1:47:17
  Speaker 3: It's very catchy in general, so that's why I think
• 1:47:20
  Speaker 3: I still hear it as much because it's been around
• 1:47:22
  Speaker 3: for years. But yeah, that's one of those that's the
• 1:47:26
  Speaker 3: only way I remember it. What's funny in looking it up,
• 1:47:29
  Speaker 3: it's tied into another more recent movie that I actually
• 1:47:33
  Speaker 3: really like. Again, I don't know how many people saw
• 1:47:36
  Speaker 3: it at the time. But if you see Teen Spirit,
• 1:47:40
  Speaker 3: it's Elle Fanning who wants to be a pop star
• 1:47:42
  Speaker 3: and is doing like an American Idol type of thing.
• 1:47:45
  Speaker 3: And when she goes to perform, one of the songs
• 1:47:48
  Speaker 3: she does is lights. So she actually performs a live
• 1:47:51
  Speaker 3: version in the movie. And it's her doing her version
• 1:47:55
  Speaker 3: of it. And she has a pretty good voice. So
• 1:47:57
  Speaker 3: even that one's pretty good. So, yeah, that was just
• 1:48:00
  Speaker 3: one of those that stuck in my head as a
• 1:48:02
  Speaker 3: credit song.
• 1:48:03
  Speaker 2: Interesting. Yeah, I was going to say there's... Definitely, like
• 1:48:05
  Speaker 2: there was kind of this period, every now and then
• 1:48:07
  Speaker 2: we get these little periods of actresses who want to
• 1:48:10
  Speaker 2: record music.
• 1:48:11
  Speaker 3: Yeah, a lot at this point. You almost kind of
• 1:48:13
  Speaker 3: have to as an up and coming, definitely just an
• 1:48:17
  Speaker 3: up and coming kid coming into the business now. but
• 1:48:20
  Speaker 3: specifically for the girls for some reason you have to
• 1:48:23
  Speaker 3: also be a pop star and like it's rare I
• 1:48:26
  Speaker 3: feel like that from those like teenage girls 10 years
• 1:48:30
  Speaker 3: ago to kids coming up now like it just became
• 1:48:33
  Speaker 3: a go-to and every one of them also has an
• 1:48:35
  Speaker 3: album out and I don't know if it's just producers
• 1:48:38
  Speaker 3: kind of pushing them that like look You need to
• 1:48:40
  Speaker 3: be in every market. You need to have this. You
• 1:48:42
  Speaker 3: need to have this in your arsenal to be able
• 1:48:44
  Speaker 3: to put out an album. And when they come to
• 1:48:46
  Speaker 3: you and want you to do a song, you're ready
• 1:48:48
  Speaker 3: to do it. So I don't know if it's just
• 1:48:51
  Speaker 3: pressure from the industry or that's the way it used
• 1:48:54
  Speaker 3: to be. It used to be vaudeville and you did everything.
• 1:48:56
  Speaker 3: So it's like maybe they're just going back to that version.
• 1:48:59
  Speaker 3: I don't know.
• 1:49:00
  Speaker 2: It was big in the 70s too. There was a
• 1:49:02
  Speaker 2: lot of actors too.
• 1:49:02
  Speaker 8: Yeah.
• 1:49:03
  Speaker 3: It was just weird crossover back and forth and nobody
• 1:49:06
  Speaker 3: ever took anybody serious when they crossed over was the
• 1:49:09
  Speaker 3: problem a lot of times.
• 1:49:11
  Speaker 2: Most of the time, yeah, it's like the song's like, okay,
• 1:49:13
  Speaker 2: that was kind of nice or something. I mean, like
• 1:49:15
  Speaker 2: occasionally you'll get like some good, like I remember like
• 1:49:18
  Speaker 2: Haley Steinfeld does a song for the end of Bumblebee.
• 1:49:20
  Speaker 1: Yeah.
• 1:49:21
  Speaker 2: And it works.
• 1:49:22
  Speaker 3: I like that song.
• 1:49:22
  Speaker 2: Yeah, it's a good song and it works for the
• 1:49:24
  Speaker 2: movie because it has kind of an 80s kind of,
• 1:49:27
  Speaker 2: you know, electronic kind of beat to it. So yeah,
• 1:49:30
  Speaker 2: it works for it. It's a good song. But then,
• 1:49:32
  Speaker 2: You got like Scarlett Johansson who says, I'm going to
• 1:49:36
  Speaker 2: do a cover album of all Tom Waits songs.
• 1:49:40
  Speaker 9: Well.
• 1:49:40
  Speaker 3: I love Tom Waits.
• 1:49:41
  Speaker 4: I love Tom Waits.
• 1:49:42
  Speaker 3: I love Scarlett Johansson. I don't know that they go together,
• 1:49:45
  Speaker 3: but more power to you.
• 1:49:47
  Speaker 2: That is not a chocolate peanut butter kind of combination there.
• 1:49:50
  Speaker 3: I'm sorry, Scarlett. Chocolate Jesus. I like what you did there.
• 1:49:55
  Speaker 2: I like what you did there.
• 1:49:57
  Speaker 3: But Hayley's a good example of that. I was just like,
• 1:50:00
  Speaker 3: she is, for a lot of people, probably more well-known
• 1:50:04
  Speaker 3: as a pop star. And I'm like, you know she's
• 1:50:06
  Speaker 3: an Oscar nominee, right? I'm like, One of the youngest
• 1:50:09
  Speaker 3: Oscar nominees. And like nobody, yeah, like half the time
• 1:50:13
  Speaker 3: it's two different worlds and people don't put that stuff together.
• 1:50:15
  Speaker 2: And see, that's weird because up until the Bumblebee song came,
• 1:50:18
  Speaker 2: the song for Bumblebee came out, I didn't know that.
• 1:50:20
  Speaker 2: She has a huge career.
• 1:50:22
  Speaker 3: Again, if you go put her songs on, you'll be like,
• 1:50:25
  Speaker 3: oh yeah, I have heard this.
• 1:50:26
  Speaker 4: Oh yeah, I have.
• 1:50:26
  Speaker 3: And you don't even know that it's Haley Steinfeld.
• 1:50:28
  Speaker 2: Yeah, I know her from like True Grit and the
• 1:50:31
  Speaker 2: other movies and whatever she's done, but it's like, oh.
• 1:50:33
  Speaker 12: Okay.
• 1:50:33
  Speaker 3: She's got a whole other career as a pop star
• 1:50:36
  Speaker 3: that people don't realize. And I think a lot of
• 1:50:39
  Speaker 3: those young actresses are like that. I'm good on her. Yeah,
• 1:50:42
  Speaker 3: I give them credit. It's hard enough to make one
• 1:50:44
  Speaker 3: career work. You've got two going, so more power to you. Yeah,
• 1:50:48
  Speaker 3: and it works.
• 1:50:50
  Speaker 4: All right.
• 1:50:51
  Speaker 3: Well, if we're for real rounding it out, I feel like,
• 1:50:55
  Speaker 3: I don't know, do we have any overall views on this?
• 1:50:58
  Speaker 3: I think I've said mine. It's just so many things
• 1:51:00
  Speaker 3: attach themselves to credits. What?
• 1:51:04
  Speaker 2: And I had a difficult time making the list because,
• 1:51:07
  Speaker 2: of course, when we originally started this idea, a lot
• 1:51:10
  Speaker 2: of my movies were horror movies. And they're like, well,
• 1:51:12
  Speaker 2: we can kind of save this for another show.
• 1:51:13
  Speaker 3: Yeah, I was going to throw that out there. We
• 1:51:15
  Speaker 3: did like this idea so much that don't feel too
• 1:51:19
  Speaker 3: bad if we didn't get to some of them because
• 1:51:21
  Speaker 3: we liked.
• 1:51:22
  Speaker 2: It so much.
• 1:51:22
  Speaker 3: I was like, you know, October's right around the corner.
• 1:51:25
  Speaker 3: Let's just put together a horror version.
• 1:51:27
  Speaker 2: And I've got several others that are action movies as well.
• 1:51:31
  Speaker 3: There's many spinoffs of this concept, so we'll come back
• 1:51:35
  Speaker 3: to it.
• 1:51:35
  Speaker 2: Oh, yeah. I've got plenty more. Definitely.
• 1:51:39
  Speaker 3: But for this, I was trying... And actually, that's why
• 1:51:43
  Speaker 3: I kind of... One of the reasons I wanted to
• 1:51:45
  Speaker 3: go to this, because as soon as you threw out
• 1:51:46
  Speaker 3: this concept... first thing that went into my head was like,
• 1:51:51
  Speaker 3: there's few times when you're like in a movie and
• 1:51:55
  Speaker 3: you're watching the finale and the music's already kicking in
• 1:52:00
  Speaker 3: and you're like, okay, well this works. And then like
• 1:52:03
  Speaker 3: by the end, I'm like, I don't know that you
• 1:52:04
  Speaker 3: could have this and have it work without that also
• 1:52:09
  Speaker 3: running behind it.
• 1:52:10
  Speaker 2: Yeah.
• 1:52:11
  Speaker 3: Especially for what's going on in this. So, um, we'll
• 1:52:14
  Speaker 3: be going out with where is my mind by the
• 1:52:17
  Speaker 3: pixies and, From Fight Club. And it's what I thought
• 1:52:21
  Speaker 3: of as you said that the first time. I was like, well,
• 1:52:23
  Speaker 3: that one, I mean, that's not just... And you play
• 1:52:25
  Speaker 3: a song and the credits roll. I'm like, you're watching
• 1:52:29
  Speaker 3: this character... I guess, spoilers for Fight Club. Because you
• 1:52:33
  Speaker 3: kind of need to address what's going on. But I won't...
• 1:52:36
  Speaker 3: I mean, there's the whole Jack thing. But if nothing else,
• 1:52:40
  Speaker 3: we've just watched our lead shoot themselves in the head.
• 1:52:44
  Speaker 3: And then stand there as a huge portion of the city...
• 1:52:47
  Speaker 3: blows up and falls down.
• 1:52:49
  Speaker 2: Yeah, all these major financial infrastructures.
• 1:52:52
  Speaker 3: Giant buildings are dropping in front of them and the
• 1:52:55
  Speaker 3: song kicks in and the credits roll. And I'm like,
• 1:52:58
  Speaker 3: you can't just do that with any old song. Luckily,
• 1:53:02
  Speaker 3: it works so well with this song. Yeah. So we'll
• 1:53:07
  Speaker 3: round out with that. I did want to stop while
• 1:53:10
  Speaker 3: we were on there and just talk about also that
• 1:53:13
  Speaker 3: time period because not only do i love the pixies
• 1:53:16
  Speaker 3: in general but mostly for the movie because this is
• 1:53:20
  Speaker 3: one of those movies and some people love it some
• 1:53:22
  Speaker 3: people hate it it's it's definitely got its fan base
• 1:53:27
  Speaker 3: and then there's a lot of people that later came
• 1:53:29
  Speaker 3: to respect fincher but don't like that one still think
• 1:53:32
  Speaker 3: that's a low point in his career really at the
• 1:53:34
  Speaker 3: time i liked it uh i do feel like i
• 1:53:36
  Speaker 3: want to watch it again and see how i feel
• 1:53:39
  Speaker 3: about it now but it's interesting to me that we
• 1:53:42
  Speaker 3: got that ending Because it's a 1999 movie. Two years later,
• 1:53:48
  Speaker 3: there's no way in hell we would ever get that
• 1:53:50
  Speaker 3: indie for that movie.
• 1:53:51
  Speaker 2: Right, yeah.
• 1:53:52
  Speaker 3: I mean, this was 99 and you could still.
• 1:53:55
  Speaker 2: Blow up buildings and nobody cared.
• 1:53:57
  Speaker 3: Because it was fictional it's not the kind of thing
• 1:53:59
  Speaker 3: that happens in the real oh shit two years later
• 1:54:02
  Speaker 3: it's real life and our entire country goes into shock
• 1:54:06
  Speaker 3: rightfully so and has to readjust and you see all
• 1:54:10
  Speaker 3: those movies that come out after that i mean the
• 1:54:13
  Speaker 3: they always talk about the ones that got taken out
• 1:54:15
  Speaker 3: in the process that you know you've got your schwarzenegger
• 1:54:18
  Speaker 3: when that like Oh, we're going to put this out.
• 1:54:20
  Speaker 3: Not this weekend. Oh, let's put this on the back burner.
• 1:54:24
  Speaker 3: And it got buried in the movie tanked because they
• 1:54:27
  Speaker 3: couldn't put it out because it had bombs in it
• 1:54:29
  Speaker 3: and people were freaked out still. So you see like
• 1:54:33
  Speaker 3: the after effect of that. But I always like noting
• 1:54:36
  Speaker 3: when things were like right before that and how much
• 1:54:38
  Speaker 3: you could do and nobody questioned it anymore. But yeah,
• 1:54:41
  Speaker 3: we have just huge buildings dropping in the end of
• 1:54:47
  Speaker 3: this movie. And like, Yeah, that's something I think even
• 1:54:51
  Speaker 3: now people would be... I mean, they still kind of
• 1:54:53
  Speaker 3: freaked out by the time you get to even something
• 1:54:57
  Speaker 3: as sensationalized as.
• 1:54:58
  Speaker 2: The superhero movies.
• 1:54:59
  Speaker 3: You know, they were... When you had Batman v Superman
• 1:55:02
  Speaker 3: and they're just tearing through that city, people are like, um...
• 1:55:06
  Speaker 3: What's going on? How many people are dying in the process?
• 1:55:09
  Speaker 3: And that kind of stuff.
• 1:55:11
  Speaker 2: Gets flack now that it didn't used to.
• 1:55:13
  Speaker 3: You could just blow up buildings and be like, ah,
• 1:55:15
  Speaker 3: it's a fun story.
• 1:55:16
  Speaker 15: Who cares?
• 1:55:17
  Speaker 2: It's going to be like cleanup afterwards.
• 1:55:18
  Speaker 4: Yeah.
• 1:55:19
  Speaker 3: I was like, it's not like that anymore. You can't
• 1:55:22
  Speaker 3: do that without having repercussions.
• 1:55:24
  Speaker 2: And it's a funny thing is that it's always been
• 1:55:27
  Speaker 2: that way. We just didn't think about it.
• 1:55:29
  Speaker 3: It should have horrified us then. But it just wasn't
• 1:55:32
  Speaker 3: a real thing to us so much, you know? To
• 1:55:35
  Speaker 3: that extent, it had never happened before. So, yeah, it
• 1:55:40
  Speaker 3: should have been. I mean, the weight of the story
• 1:55:42
  Speaker 3: is that's supposed to be a huge thing. And it's
• 1:55:45
  Speaker 3: supposed to change everything from that point on.
• 1:55:47
  Speaker 2: Right, yeah.
• 1:55:48
  Speaker 3: And we saw that in real life two years later.
• 1:55:51
  Speaker 3: It exactly happened. A version of that happened and everything
• 1:55:55
  Speaker 3: changed after that.
• 1:55:56
  Speaker 2: It's funny, too, because Fight Club is one of those
• 1:55:58
  Speaker 2: movies that, you know, in later years has taken on
• 1:56:01
  Speaker 2: kind of different meanings because of a lot of the
• 1:56:04
  Speaker 2: nihilism that that movie projects and a lot of basically, like,
• 1:56:07
  Speaker 2: you know, life, you know, the life you know actually
• 1:56:10
  Speaker 2: doesn't mean shit. No. You know, the way you've been
• 1:56:13
  Speaker 2: pursuing it has been really wrong.
• 1:56:15
  Speaker 3: Or the things that we focus on all day long
• 1:56:18
  Speaker 3: that we think is so important in the big picture.
• 1:56:21
  Speaker 2: It's just bullshit.
• 1:56:22
  Speaker 3: Not really.
• 1:56:22
  Speaker 11: Yeah.
• 1:56:24
  Speaker 2: And, of course, a lot of that has since kind of, like,
• 1:56:26
  Speaker 2: grown up with its audience. So, of course, there's a
• 1:56:29
  Speaker 2: lot of people who still kind of buy into that
• 1:56:31
  Speaker 2: sort of, you know, mentality. Or a lot of people
• 1:56:33
  Speaker 2: who had their mentalities changed because of this movie. Yeah.
• 1:56:37
  Speaker 2: And kind of now, like, when you look at kind of, like,
• 1:56:39
  Speaker 2: a lot of America's, you know, especially white males of
• 1:56:44
  Speaker 2: a certain age. Yeah. You know, it's like it could
• 1:56:46
  Speaker 2: almost– the movie could be almost twisted into, like, It
• 1:56:51
  Speaker 2: was inspiration for some of the January 6th shit.
• 1:56:54
  Speaker 3: That's why I think it has such a reputation now.
• 1:56:58
  Speaker 3: I think before even that kind of stuff happened, but
• 1:57:00
  Speaker 3: it was just those little teenage boys that saw that
• 1:57:03
  Speaker 3: and were.
• 1:57:04
  Speaker 4: Like, that guy's cool.
• 1:57:05
  Speaker 3: I want to be just like Brad Pitt. He's kind
• 1:57:09
  Speaker 3: of the villain of the movie, really. As it expands,
• 1:57:11
  Speaker 3: you realize he, if in fact he is a character,
• 1:57:15
  Speaker 3: he is insane and is really going to be killing
• 1:57:19
  Speaker 3: people potentially so the end doesn't justify the means it's
• 1:57:24
  Speaker 3: like it's i don't know it's like there's a lot
• 1:57:27
  Speaker 3: of stuff that could be taken out of context well
• 1:57:29
  Speaker 3: which is the story it's like he comes from a
• 1:57:31
  Speaker 3: place of trying to capture this thing but again it's
• 1:57:36
  Speaker 3: centered around a bunch of white males getting together and
• 1:57:38
  Speaker 3: to smack each other in the face and it just
• 1:57:42
  Speaker 3: gets blown out of proportion literally by the end of
• 1:57:44
  Speaker 3: the movie and like that i think is what some
• 1:57:48
  Speaker 3: people later became very critical of it's like it's a
• 1:57:51
  Speaker 3: it's a fantasy movie for these eternal teenage white males
• 1:57:55
  Speaker 3: that don't ever really grow up and still think this
• 1:57:58
  Speaker 3: guy's cool and i'm like yeah they're kind of missing
• 1:58:00
  Speaker 3: the point of the movie.
• 1:58:01
  Speaker 2: Well, and it's the point of the movie and the
• 1:58:03
  Speaker 2: point of the book. Yeah. Because basically it's, you know,
• 1:58:05
  Speaker 2: essentially it's like, okay, it's like, you know, life is bullshit.
• 1:58:08
  Speaker 2: The way we've been doing things is bullshit. So there's
• 1:58:11
  Speaker 2: another way to do things. There's another way to live.
• 1:58:14
  Speaker 3: A grown-up way to do things that isn't violence for
• 1:58:17
  Speaker 3: no real reason.
• 1:58:18
  Speaker 2: But at the same time, too, you could still have
• 1:58:20
  Speaker 2: those same intentions and go about it completely wrong-headed and
• 1:58:24
  Speaker 2: cause violence and chaos and destruction.
• 1:58:26
  Speaker 4: Yeah.
• 1:58:26
  Speaker 2: So it's kind of like, which way do we actually
• 1:58:28
  Speaker 2: need to go? And unfortunately, some people have answered that
• 1:58:31
  Speaker 2: question in the wrong answer.
• 1:58:33
  Speaker 3: The wrong way.
• 1:58:34
  Speaker 2: We have yet to see that in the correct answer. Yeah.
• 1:58:37
  Speaker 2: It's like, there can be revolutions where not a single
• 1:58:39
  Speaker 2: shot is fired. You know, where no one is, no
• 1:58:42
  Speaker 2: one is harmed.
• 1:58:43
  Speaker 3: Yeah.
• 1:58:43
  Speaker 2: There are all kinds of those ways it can happen.
• 1:58:45
  Speaker 3: I feel like if you don't put all that weight on,
• 1:58:48
  Speaker 3: you know, again, it's at the time was just trying
• 1:58:50
  Speaker 3: to recreate this book in concept. Not exactly. It changes
• 1:58:54
  Speaker 3: a lot of things and that's fine. But I'm like,
• 1:58:56
  Speaker 3: it's just trying to tell the story.
• 1:58:58
  Speaker 2: And if you just.
• 1:58:59
  Speaker 3: Look at it as that. It stands on its own
• 1:59:01
  Speaker 3: and it works, but yeah, people sort of take the
• 1:59:04
  Speaker 3: wrong things from it a lot of times. But the
• 1:59:07
  Speaker 3: thing that I think really, like I remember at the
• 1:59:09
  Speaker 3: time seeing it and was kind of blown away by
• 1:59:11
  Speaker 3: that scope of like, it starts with dorks in a
• 1:59:14
  Speaker 3: parking lot and then like becomes this life changing thing
• 1:59:19
  Speaker 3: by the end of it for everyone, whether they like
• 1:59:21
  Speaker 3: it or not.
• 1:59:22
  Speaker 2: They're a social group that turns into a terrorist organization. Yeah.
• 1:59:24
  Speaker 3: That's the part I wasn't really prepared for because I
• 1:59:27
  Speaker 3: didn't read the book. I don't know how to read.
• 1:59:28
  Speaker 3: So like I just went in kind of knowing what
• 1:59:31
  Speaker 3: the trailer is. It's just idiots standing around the parking
• 1:59:33
  Speaker 3: lot hitting each other. So like, yeah, I was like,
• 1:59:37
  Speaker 3: I didn't know that that's where it was going. So
• 1:59:39
  Speaker 3: go through this movie and you kind of experience all
• 1:59:41
  Speaker 3: this craziness and you get to the end and this
• 1:59:45
  Speaker 3: is our finale and you get that theme kick in
• 1:59:48
  Speaker 3: as he's standing there with her. And then that's how
• 1:59:52
  Speaker 3: it sent us out. And I was like, that's, Such
• 1:59:54
  Speaker 3: an epic way to end a movie. And this is
• 1:59:57
  Speaker 3: the epic song that we should go out on.
• 2:00:00
  Speaker 2: And you're right. It's really kind of just... You can't
• 2:00:03
  Speaker 2: picture anything else ending the movie. It's kind of like
• 2:00:06
  Speaker 2: the same way with John Carpenter's usage of music in
• 2:00:09
  Speaker 2: the original Halloween.
• 2:00:10
  Speaker 3: Yeah.
• 2:00:10
  Speaker 2: It's like if you buy some of the DVDs and
• 2:00:13
  Speaker 2: they show you some of the behind-the-scenes stuff. Like, hey,
• 2:00:16
  Speaker 2: here's a scene where we actually take the... The scene
• 2:00:18
  Speaker 2: where basically Laurie's running for the door... And banging on
• 2:00:21
  Speaker 2: the door, like trying to get the kids to open
• 2:00:22
  Speaker 2: up the door while Michael Myers is chasing behind her.
• 2:00:25
  Speaker 2: That scene without music, completely different. Nowhere near as suspenseful.
• 2:00:30
  Speaker 3: It's all about that mixture and finding the right tone
• 2:00:34
  Speaker 3: and finding what works for the movie you're trying to make. Again,
• 2:00:38
  Speaker 3: you get these masters that kind of know how to
• 2:00:39
  Speaker 3: do it and you can work it just perfectly.
• 2:00:43
  Speaker 2: And then you get the 90s Godzilla, which is like,
• 2:00:45
  Speaker 2: this is an advertisement for Interscope Records and none of
• 2:00:48
  Speaker 2: these songs have any fucking thing to do with the movie.
• 2:00:51
  Speaker 3: I like that cover of David Bowie.
• 2:00:55
  Speaker 2: Oh, the Heroes? Yeah, that's not bad. I like the Wallflowers.
• 2:00:59
  Speaker 2: And the Rage Against the Machine song is good in there,
• 2:01:01
  Speaker 2: but it was not written for the movie.
• 2:01:03
  Speaker 3: I remember at the time, I had a friend that
• 2:01:05
  Speaker 3: was kind of into them, but was just like, yeah, guys,
• 2:01:09
  Speaker 3: way to Rage Against the Machine on the Godzilla soundtrack. Like,
• 2:01:14
  Speaker 3: I don't know if you... Do you get the irony?
• 2:01:17
  Speaker 2: They didn't have shit to do with that because... You do.
• 2:01:19
  Speaker 3: But either way, you took a check. I mean, you've
• 2:01:22
  Speaker 3: cast a check from that company for your music to
• 2:01:25
  Speaker 3: be used in the biggest, dumbest movie of the year. So,
• 2:01:29
  Speaker 3: what are we accomplishing?
• 2:01:30
  Speaker 2: And the ironic thing is the only song that was
• 2:01:33
  Speaker 2: actually done for the movie, still having nothing to do
• 2:01:38
  Speaker 2: with the movie, is the P. Diddy, Jamie Page... Kashmir,
• 2:01:43
  Speaker 2: come with me, whatever the fucking thing was. That mashup.
• 2:01:47
  Speaker 2: So we get a big mashup of a, at the time,
• 2:01:51
  Speaker 2: popular hip-hop artist and a legendary guitarist covering a legendary song.
• 2:01:57
  Speaker 2: We're sampling it heavily. It's going to be for this movie.
• 2:02:03
  Speaker 2: It has nothing to do... Shit! I think even the
• 2:02:08
  Speaker 2: Raging Machine song actually says Godzilla in the song. But
• 2:02:13
  Speaker 2: that was an accident.
• 2:02:14
  Speaker 3: Well, they heard it and went, this is about our movie.
• 2:02:17
  Speaker 3: Because again, some corporate executive thinks the world revolves around them.
• 2:02:22
  Speaker 2: These guys wrote this for our movie. No, we didn't.
• 2:02:25
  Speaker 2: This was a song we just didn't use for an
• 2:02:27
  Speaker 2: album and you all want to stick it on a soundtrack?
• 2:02:29
  Speaker 3: You guys got money? Alright, cool. Alright, well.
• 2:02:37
  Speaker 3: We'll go out with those same notes here and wrap
• 2:02:40
  Speaker 3: it up. I think we, um, we, we came up
• 2:02:44
  Speaker 3: with some good ideas and we also came up with
• 2:02:47
  Speaker 3: a lot of other side projects. So I like what
• 2:02:51
  Speaker 3: we did with this one and I like where we
• 2:02:53
  Speaker 3: can go with it in the future.
• 2:02:55
  Speaker 2: So, and we're kind of, we were kind of all
• 2:02:56
  Speaker 2: over the place. I mean, you know, there were many
• 2:02:58
  Speaker 2: other movies we could have taken with head, you know,
• 2:03:01
  Speaker 2: big hit songs, you know, that, you know, like, you know,
• 2:03:04
  Speaker 2: what was it? Uh, The Phil Collins song, Against All Odds.
• 2:03:09
  Speaker 2: Never actually saw the movie Against All Odds until many,
• 2:03:12
  Speaker 2: many years later, but that song was huge.
• 2:03:14
  Speaker 3: Actually, I have a side project episode that will fit
• 2:03:18
  Speaker 3: in perfectly.
• 2:03:19
  Speaker 2: Because it's the all Phil Collins episode?
• 2:03:22
  Speaker 3: Oh, we can do that too in just an hour
• 2:03:24
  Speaker 3: of Tarzan.
• 2:03:26
  Speaker 2: What was the one song, Billy Don't Lose My Number?
• 2:03:31
  Speaker 2: a big hit song for him, was supposedly written for
• 2:03:35
  Speaker 2: the film Silverado, a western.
• 2:03:40
  Speaker 3: Interesting.
• 2:03:41
  Speaker 2: A classic western.
• 2:03:42
  Speaker 3: Not everybody can take current day music and work it
• 2:03:45
  Speaker 3: into a period piece.
• 2:03:47
  Speaker 2: Except... It happens.
• 2:03:48
  Speaker 3: Every once in a while, but.
• 2:03:50
  Speaker 2: The weird thing is that the song, A, does not
• 2:03:54
  Speaker 2: appear anywhere in the movie.
• 2:03:55
  Speaker 3: No.
• 2:03:56
  Speaker 2: Doesn't begin it, doesn't close it, it's not heard anywhere whatsoever.
• 2:03:59
  Speaker 2: Phil Collins doesn't even have a damn cameo in the movie.
• 2:04:02
  Speaker 3: Not everything can be Buster.
• 2:04:04
  Speaker 2: It's still marketed for that. I mean, like, the third
• 2:04:07
  Speaker 2: Back to the Future movie has a ZZ Top song
• 2:04:09
  Speaker 2: in there, and ZZ Top is in the movie. As
• 2:04:11
  Speaker 2: they should be. And the song is featured in the
• 2:04:14
  Speaker 2: movie at the end, and they're kind of playing a
• 2:04:16
  Speaker 2: little riff of it when you see them in this.
• 2:04:18
  Speaker 2: It's like, that worked.
• 2:04:20
  Speaker 3: That was a great cameo. I remember we played that
• 2:04:22
  Speaker 3: one years ago, and I was like, is there a
• 2:04:25
  Speaker 3: better ultimate cameo? You're tying in your soundtrack. They're playing
• 2:04:29
  Speaker 3: the song on your soundtrack, but they're playing it in character.
• 2:04:32
  Speaker 3: And was there ever a band that looks like they
• 2:04:34
  Speaker 3: need to be in the Old West more than ZZ Top?
• 2:04:37
  Speaker 2: I would say second runner up would be Alice Cooper's
• 2:04:39
  Speaker 2: Prince of Darkness for Prince of Darkness. And he appears
• 2:04:42
  Speaker 2: in the movie as like the lead ghoul.
• 2:04:45
  Speaker 3: That he does. All right. So, yep. We got our
• 2:04:48
  Speaker 3: work cut out for us.
• 2:04:50
  Speaker 2: Yeah. We can do a couple more episodes. We got plenty.
• 2:04:54
  Speaker 3: More in the works.
• 2:04:55
  Speaker 2: Yep.
• 2:04:56
  Speaker 3: I think we need this whole other episode to contain
• 2:05:01
  Speaker 3: all of this.
• 2:05:02
  Speaker 4: Indeed, yes.
• 2:05:03
  Speaker 3: We will be back for that. But until then, I
• 2:05:06
  Speaker 3: will remind you, get a light. We'll provide the soundtrack.
• 2:05:10
  Speaker 2: Yes, we will.
• 2:05:24
  Speaker 4: Where is my mind?
• 2:05:30
  Speaker 2: Where is my mind?
• 2:05:33
  Speaker 4: Where is my mind?
• 2:06:01
  Speaker 1: Where is my mind where is my mind.
• 2:06:33
  Speaker 4: When you beat on the air, your head on the
• 2:06:38
  Speaker 4: ground Where is my mind? Where is my mind now?
• 2:08:28
  Speaker 2: Utilizing his love of cinema as the method for killing
• 2:08:31
  Speaker 2: people and stuff like that, and just his obsession with
• 2:08:34
  Speaker 2: cinema and whatnot. It's like, stop. This episode is a
• 2:08:36
  Speaker 2: production of Movie Meltdown, produced and edited by The Oddity Studios.
• 2:08:40
  Speaker 2: For more on how to sponsor or support the show,
• 2:08:42
  Speaker 2: email producer at moviemeltdown.com.
• 2:08:44
  Speaker 1: Ah!
• 2:08:56
  Speaker 3: This program is a proud member of the Battleship Pretension Fleet.