Latest / Frightmares / Ep. 377 - Close Encounters (1977)

Transcript

Ep. 377 - Close Encounters (1977) · Frightmares

• 0:01
  Speaker 1: You are now listening to the Someone's Favorite Productions podcast network.
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  Speaker 2: every movie night is an adventure. Hewing podcast will contain spoilers, tangents,
• 1:03
  Speaker 2: hot takes, and excessive foul language. Viewer discretion is advised.
• 1:08
  Speaker 2: Enjoy the show.
• 1:49
  Speaker 3: Welcome back to Frightmar's podcast. I'm your host Austin Procter
• 1:52
  Speaker 3: and joining me today for episode three seventy seven is
• 1:56
  Speaker 3: my beautiful wife, Gabrielle Parcter. Hello, what do you do
• 2:00
  Speaker 3: that every time?
• 2:02
  Speaker 2: God?
• 2:03
  Speaker 3: Today I'm the first installment of Melian Invasion. We're discussing
• 2:07
  Speaker 3: our essential Close Encounters of the third kind from nineteen
• 2:10
  Speaker 3: seventy seven. A movie that goes to show was the
• 2:13
  Speaker 3: longer the title, the better the movie.
• 2:15
  Speaker 1: That makes perfect sense?
• 2:16
  Speaker 3: Yes, exactly, let's see where this land of the name
• 2:18
  Speaker 3: are index. All right, So what are you at now?
• 2:27
  Speaker 3: For fucking movies? Watched three? Good lord? Yeah, you watched
• 2:36
  Speaker 3: like twenty movies. It hasn't even been.
• 2:39
  Speaker 1: A week, to be fair. A couple of these are shorts.
• 2:43
  Speaker 3: Oh my god, Now you're just now, you're just cheating.
• 2:46
  Speaker 1: If you can log it, I'm logging it.
• 2:50
  Speaker 3: Where am I at? Uh to? Oh? What was my
• 2:53
  Speaker 3: two hundredth Oh no? And I fuck literally said on
• 2:57
  Speaker 3: the last episode I needed to sure it was a
• 3:00
  Speaker 3: good movie, to make sure it was a good one,
• 3:02
  Speaker 3: And then I guess I fucked right off. But it
• 3:05
  Speaker 3: might have been Vampire in Brooklyn, which I'm okay with.
• 3:08
  Speaker 3: It was oh my two hundred somehow was let me in?
• 3:12
  Speaker 1: Nice? Good for you?
• 3:13
  Speaker 3: All right? Cool? That's fine. That worked for me. Yeah.
• 3:16
  Speaker 3: Everything this year has been great, except for couple's retreat
• 3:20
  Speaker 3: on Yeah, on the fiftieth watch all right, go ahead.
• 3:24
  Speaker 1: All right. Well, recently I showed our child the Don
• 3:30
  Speaker 1: Bluth Thumbolina movie uh huh, which she actually really enjoyed
• 3:34
  Speaker 1: more than I thought she would. And I don't know,
• 3:36
  Speaker 1: I do know why it doesn't register as a kid
• 3:39
  Speaker 1: who's doing what in those movies? But Jody Benson voiced Thumbelina,
• 3:44
  Speaker 1: who you might know as voicing Ariel and Barry Manilow
• 3:48
  Speaker 1: wrote the songs and composed the movie.
• 3:51
  Speaker 3: I'm not I'm not peeing. This is a soda. I
• 3:56
  Speaker 3: just want to be clear.
• 3:57
  Speaker 1: Just right in the middle of my share.
• 4:00
  Speaker 3: Don Bluth r I p t dead.
• 4:02
  Speaker 1: Yes, okay continue, But anyway, I God helped me. I
• 4:09
  Speaker 1: decided to watch a couple Paul W. S Anderson movies
• 4:12
  Speaker 1: that I had not seen before with me Lee Jovovich.
• 4:16
  Speaker 3: Drunk, Oh too many fucking Paul Anderson's I'm thinking of
• 4:20
  Speaker 3: Paul W.
• 4:20
  Speaker 1: S Anderson.
• 4:21
  Speaker 3: I'm thinking of not a Wes Anderson maybe who directed Punch,
• 4:28
  Speaker 3: Drunk Love, Paul Thomas Anderson, fuck off with the names.
• 4:33
  Speaker 1: Yeah, so this is the guy who directed a lot
• 4:36
  Speaker 1: of the resident evil movies. Yeah, so you know, fun time, right. Yeah.
• 4:40
  Speaker 1: I watched In the Lost Lands, where my review was
• 4:43
  Speaker 1: no acting muscles were strained in the making of this
• 4:46
  Speaker 1: film because I love Dave Batista and I love Mele Jovivich.
• 4:50
  Speaker 1: They were phoning it in, as was whoever designed the
• 4:54
  Speaker 1: film and wrote the script. So it is a terrible movie.
• 4:57
  Speaker 3: I mean I get it. You know, I phone it
• 4:59
  Speaker 3: in a lot of time times at work, and they're
• 5:01
  Speaker 3: at work, so I get it.
• 5:02
  Speaker 1: Yeah, it was just the plot was just kind of nonexistent.
• 5:08
  Speaker 1: There was no chemistry, Like I found myself thinking, am
• 5:11
  Speaker 1: I are they falling in love or it's like they're
• 5:15
  Speaker 1: bonded as friends. I can't tell what they're going for
• 5:18
  Speaker 1: because they're being so vague and making no physical contact. Now, Keith,
• 5:24
  Speaker 1: I'm guessing she didn't want to kiss because that her
• 5:26
  Speaker 1: husband was directing. Because she's married to Paul W. S Anderson.
• 5:30
  Speaker 3: That makes so much sense.
• 5:31
  Speaker 1: Yeah, And then I watched Monster Hunter also with her,
• 5:35
  Speaker 1: also directed by.
• 5:36
  Speaker 3: Him, and was he rob zombie right.
• 5:41
  Speaker 1: At this point? Yeah? He pretty much his wife is
• 5:43
  Speaker 1: in everything he directs. But that one had a really
• 5:47
  Speaker 1: fun first half. The second half was like, all right,
• 5:52
  Speaker 1: I know we were doing this other thing, but we
• 5:53
  Speaker 1: should probably like have a plot now, And then they
• 5:58
  Speaker 1: slapped in a bunch of story and lore and characters
• 6:01
  Speaker 1: at the back half of the movie, and you're like, oh,
• 6:05
  Speaker 1: that's like a lot of stuff to throw in. We
• 6:08
  Speaker 1: don't have that much time left to be getting into
• 6:10
  Speaker 1: all this, But sure, why not really should have stuck
• 6:13
  Speaker 1: to the two people from different worlds who don't speak
• 6:15
  Speaker 1: each other's languages trying to survive against monsters. That was
• 6:18
  Speaker 1: way more interesting. But you live, you learn, right. Sure
• 6:24
  Speaker 1: Ron Perlman had a really unfortunate wig in that movie.
• 6:26
  Speaker 1: So yeah, but uh yeah, that's about it. Other than
• 6:30
  Speaker 1: that watching horror movies with you. We saw Hokum. Well
• 6:34
  Speaker 1: I've seen Hokum now.
• 6:36
  Speaker 3: Wow, okay, but it's one of the few things I've
• 6:39
  Speaker 3: watched since the last episode is taken it away from me.
• 6:42
  Speaker 1: Well, then let's use that to transition into what you've
• 6:45
  Speaker 1: been watching.
• 6:46
  Speaker 3: Uh, I'm going to go back before Hokum if that's okay, Wow.
• 6:50
  Speaker 1: Just ruining my transition that I just made up right now.
• 6:53
  Speaker 3: And I saw Hocum for the second time in theaters
• 6:57
  Speaker 3: because you wanted to go, and I obviously I'm not
• 7:00
  Speaker 3: gonna say no to that because it was a really
• 7:01
  Speaker 3: good movie. You have a five out of five. So
• 7:03
  Speaker 3: I guess back to you, maybe report for what you.
• 7:07
  Speaker 1: Thought me too, enjoy had good time.
• 7:11
  Speaker 3: I noticed, so I first of all, he's a big
• 7:16
  Speaker 3: fan of circles, big fan of circles. There, I guess
• 7:21
  Speaker 3: I don't really shouldn't talk about hokum. But I started
• 7:25
  Speaker 3: Caveat last night. Also circles in that movie. So now
• 7:30
  Speaker 3: I have to watch Audity and see if there's fucking
• 7:32
  Speaker 3: there is circles. Isn't there a circle in the door
• 7:35
  Speaker 3: where they're looking through or something?
• 7:38
  Speaker 1: The statue has holes all over its head?
• 7:40
  Speaker 3: Yeah, but I mean specifically circles. There was a specific
• 7:43
  Speaker 3: moment in Caveat where there was a circle that someone
• 7:45
  Speaker 3: had cut into dry wall, and then it shifted to
• 7:48
  Speaker 3: a next like someone looking through a circular window. I
• 7:51
  Speaker 3: was like, this man really likes circles. Yeah, so now
• 7:55
  Speaker 3: I have to watch Audity. Oh no, and see if
• 7:58
  Speaker 3: there's circles in.
• 7:59
  Speaker 1: That one different directions. You watched that horror movie and
• 8:03
  Speaker 1: I picked The Boss with Melissa McCarthy.
• 8:06
  Speaker 3: Well, I haven't seen Caveat. I started it a long
• 8:10
  Speaker 3: time ago and then never finished it. I don't know why,
• 8:13
  Speaker 3: probably when I was in my drinking era. And I've
• 8:16
  Speaker 3: seen Audity obviously, and I've seen Hocum, so I have
• 8:19
  Speaker 3: to go back and watch the first movie this guy did.
• 8:22
  Speaker 3: Damie McCarthy, and all of his movies have a very
• 8:26
  Speaker 3: innate sense of isolation. Caveat is one location, basically in
• 8:30
  Speaker 3: a house Oddity. While it is multiple locations, still feels
• 8:34
  Speaker 3: very isolated because a lot of the movie takes place
• 8:37
  Speaker 3: in that big, weird house in the middle of nowhere
• 8:42
  Speaker 3: and then Hocum Hotel in the woods. So he very
• 8:45
  Speaker 3: much likes isolation and circles. Yes so, but yeah, Hocum.
• 8:50
  Speaker 3: You also gave a five out of five yep, Michael
• 8:53
  Speaker 3: and Spencer gave it a four out of five, and
• 8:55
  Speaker 3: Corey gave it a four point five out of five.
• 8:57
  Speaker 3: So it's gonna be all over the top ten list year.
• 9:00
  Speaker 3: No surprise there, spoilers. Going back to Vampire Month, we
• 9:05
  Speaker 3: watched Vamp not to be confused with vampsa plural to
• 9:10
  Speaker 3: wildly different movies. Uh three and a half. It was weird,
• 9:13
  Speaker 3: that's for sure. Gonn I was gonna give it a three,
• 9:17
  Speaker 3: but I enjoyed it more than A Vampire in Brooklyn,
• 9:19
  Speaker 3: so for the sheer weirdness of it, so I had
• 9:22
  Speaker 3: to give it a half star mort for just being
• 9:25
  Speaker 3: a very weird vampire movie.
• 9:27
  Speaker 1: I can't help but wonder what an improvement it would
• 9:31
  Speaker 1: have been if Grace Jones had agreed to talk in
• 9:34
  Speaker 1: the film, didn't say we were supposed to have dialogue,
• 9:37
  Speaker 1: and she's like, Nah, I'm gonna do a nose faratu thing.
• 9:40
  Speaker 1: I'm not gonna talk at all. Like, okay. It was
• 9:43
  Speaker 1: funny at first when she had a lot of conversations
• 9:46
  Speaker 1: with people where they're just kind of talking to her
• 9:48
  Speaker 1: and answering their own questions.
• 9:49
  Speaker 3: What do you even say? Is the director at that No,
• 9:52
  Speaker 3: I'm not talking. I'm not doing any lines. Fuck me
• 9:55
  Speaker 3: for all the lines I wrote for you.
• 9:56
  Speaker 1: Then, yeah, apparently she there was a lot of trouble
• 10:00
  Speaker 1: on that set anyway, changing her costumes.
• 10:04
  Speaker 3: You're if you're I don't know if it's the first
• 10:06
  Speaker 3: thing she said, but if you're telling the director that
• 10:09
  Speaker 3: you're just straight up not talking, I yeah, that's a problem.
• 10:13
  Speaker 1: Chrispin Guilor did the same thing in Charlie's Angels.
• 10:16
  Speaker 3: And I'm sure Nicholas Cage did the same thing. And
• 10:19
  Speaker 3: Willis Wonderland, well, I'm kidding, he probably They probably just said,
• 10:23
  Speaker 3: you're not going to have to even speak this entire movie.
• 10:25
  Speaker 1: Sometimes it works and sometimes it doesn't. I mean it
• 10:27
  Speaker 1: was chrismin Glover. It became iconic. He was just the
• 10:30
  Speaker 1: creepy thin man and he didn't talk, and he worked really,
• 10:33
  Speaker 1: really well. This movie had some plot that would have
• 10:37
  Speaker 1: made more sense had maybe she said to mine.
• 10:40
  Speaker 3: It's almost like they wrote lines for her and she
• 10:44
  Speaker 3: just said, nah.
• 10:45
  Speaker 1: But I think it's funny. Like it wasn't. It was
• 10:47
  Speaker 1: a little all over the place. But they had some
• 10:50
  Speaker 1: really cool like the lighting was great and that it was.
• 10:53
  Speaker 3: So fun a bunch of greens and purples.
• 10:57
  Speaker 1: They had some really fun vampires, and they did something
• 11:01
  Speaker 1: interesting with the plot, and they really toted the line
• 11:05
  Speaker 1: between being wacky and being scary, which was was a
• 11:08
  Speaker 1: good time.
• 11:09
  Speaker 3: Yeah, I agree.
• 11:10
  Speaker 1: Itam surprised this one just doesn't get talked about at all.
• 11:13
  Speaker 3: Periods nineteen eighty six Vampa streaming on your favorite platforms, Wow, everywhere,
• 11:20
  Speaker 3: Prime to be Pluto Plex.
• 11:22
  Speaker 1: There you go, You're just trying to get somebody to
• 11:24
  Speaker 1: watch it.
• 11:24
  Speaker 3: Yeah, I rewatched a movie I hadn't seen in quite
• 11:27
  Speaker 3: some time. Because there's no physical release for it, and
• 11:30
  Speaker 3: there's no it's not streaming anywhere. I had to do
• 11:32
  Speaker 3: a free trial of on Amazon to watch this goddamn movie.
• 11:36
  Speaker 3: It's called The Den, and I forgot how good this
• 11:39
  Speaker 3: movie was. It is one of those movies that is
• 11:43
  Speaker 3: like host, where everything is from the computer's perspective. Oh interesting,
• 11:49
  Speaker 3: it's from twenty thirteen. This is, you know, years before
• 11:52
  Speaker 3: this became very popular. Unfriended did this in twenty fourteen,
• 11:55
  Speaker 3: I believe, and this style of movie. I'm pretty sure
• 12:01
  Speaker 3: this is like one of the first ones to do
• 12:03
  Speaker 3: this type of movie, because it spurred a lot of
• 12:06
  Speaker 3: other things in the late two thousands. Really fucked up story,
• 12:10
  Speaker 3: really fucked up ending. Don't watch this if you want
• 12:12
  Speaker 3: a happy ending. Let me tell you that right now.
• 12:16
  Speaker 3: Four stars. Though, the only problem I really had with
• 12:19
  Speaker 3: it was for some reason. I don't know if it
• 12:22
  Speaker 3: was just my speakers, because I have different speakers in
• 12:24
  Speaker 3: my office than I do in the living room, but
• 12:27
  Speaker 3: every time she was talking to someone over the computer,
• 12:30
  Speaker 3: there was just this really high like sh noise, and
• 12:34
  Speaker 3: it was very distracting, and then it would fizzle off
• 12:37
  Speaker 3: when she was not talking to someone, and I'm like,
• 12:40
  Speaker 3: why are we doing I don't know, so maybe there
• 12:42
  Speaker 3: was just audio issues from my setup. While we watched Affection,
• 12:45
  Speaker 3: a brand new horror movie for this year, starring Jessica
• 12:48
  Speaker 3: Roth and guy who looks like Sean ash blah blah
• 12:52
  Speaker 3: blah whatever. His name is, Joseph Cross. I've read so
• 12:56
  Speaker 3: many people just ripping this movie to shreds.
• 13:00
  Speaker 1: The guy who plays your husband is the lead in
• 13:03
  Speaker 1: Running with Scissors, if you've ever seen that movie based
• 13:05
  Speaker 1: off of the book Running.
• 13:07
  Speaker 3: Much to my dismay, it's not a movie about lesbians. Yeah,
• 13:11
  Speaker 3: I don't I don't understand people just ripping this one
• 13:13
  Speaker 3: apart for whatever reason. I'm not saying everybody has to
• 13:16
  Speaker 3: like this movie, but you get this great reveal really
• 13:20
  Speaker 3: early in the movie, and then it just kind of
• 13:22
  Speaker 3: goes crazy from there. I thought it was great. I
• 13:25
  Speaker 3: thought this was a very unique, very mysterious thing, and
• 13:30
  Speaker 3: everyone it's just bored with it or whatever. Okay, all right,
• 13:34
  Speaker 3: I can see.
• 13:34
  Speaker 1: Where the setup could have been stronger, maybe, but I overthall,
• 13:40
  Speaker 1: I thought it was a.
• 13:42
  Speaker 3: I'm okay with I'm okay with being confused for the
• 13:45
  Speaker 3: first forty minutes. If you fucking tell me why I
• 13:47
  Speaker 3: was confused and they do.
• 13:50
  Speaker 1: Oh no, it's not that I was confused. I was
• 13:52
  Speaker 1: thinking how that that twist could have been even stronger,
• 13:57
  Speaker 1: just them talking about her accident and not just gussing
• 14:00
  Speaker 1: the details based on the accident you see happen. Just
• 14:05
  Speaker 1: feels weird that they don't talk about it at all.
• 14:08
  Speaker 3: I thought that he was referring to that accident.
• 14:10
  Speaker 1: Yeah, I know, and that's the implication, but they don't
• 14:12
  Speaker 1: discuss it at all. She doesn't ask what happened to me.
• 14:15
  Speaker 1: There's some questions to me that feel really obvious to
• 14:18
  Speaker 1: ask in that situation, but then don't get asked.
• 14:22
  Speaker 3: So, you know, whatever, it worked for.
• 14:24
  Speaker 1: Me overall, it worked for me too, No.
• 14:27
  Speaker 3: Issues for me, five out of five. I'm just kidding, liar, No,
• 14:32
  Speaker 3: I don't know. It was just it was different, and
• 14:34
  Speaker 3: Jessica Roth is great. I just feel this girl just
• 14:37
  Speaker 3: keeps getting trapped in lubs man happy death Day affection.
• 14:41
  Speaker 1: Keeps getting Yeah, this is just what she do, This
• 14:43
  Speaker 1: is just.
• 14:43
  Speaker 3: What she do. It's gonna say something else. About it,
• 14:46
  Speaker 3: and then I forgot, Oh another not feel good movie.
• 14:48
  Speaker 3: Don't watch this if you want. And maybe that's another
• 14:50
  Speaker 3: reason people aren't a fan of it, because typically I
• 14:54
  Speaker 3: love a good bleak ending because they're not done all
• 14:56
  Speaker 3: the time, and this one has a pretty bleak ending
• 15:00
  Speaker 3: to a certain degree. There is a like a slight
• 15:02
  Speaker 3: bit of hope at the end, but not really.
• 15:04
  Speaker 1: Yeah, and I think this one was really fun too,
• 15:07
  Speaker 1: because the implications of what are going on are just
• 15:10
  Speaker 1: really the implications, yees, are really terrifying and disturbing. Yeah,
• 15:16
  Speaker 1: if you think about it for a couple of minutes there.
• 15:18
  Speaker 1: But hey, I'm proud of myself for calling it like
• 15:20
  Speaker 1: two minutes before they revealed what was happening.
• 15:22
  Speaker 3: Oh that's what I was gonna say. Yeah, I was
• 15:24
  Speaker 3: pretty sure I had this movie pegged right from the beginning,
• 15:27
  Speaker 3: and I was irritated that I guessed it so quickly
• 15:29
  Speaker 3: because I usually don't guess movies. And then while I
• 15:33
  Speaker 3: was kind of close, it went in a pretty different direction.
• 15:37
  Speaker 3: I was like, oh shit, I was kind of right,
• 15:39
  Speaker 3: but this is this I like this way better. It's
• 15:41
  Speaker 3: way better.
• 15:42
  Speaker 2: Yeah.
• 15:42
  Speaker 1: As soon as we got into the room for the reveal,
• 15:44
  Speaker 1: I yelled what I thought. I was like, ah, I
• 15:46
  Speaker 1: know what it is, and I was like, ha ha,
• 15:49
  Speaker 1: I did it nice?
• 15:50
  Speaker 3: Yeah, I just got a text from self random number.
• 15:56
  Speaker 3: This is HI. It's Nikki. Do you have a second
• 15:59
  Speaker 3: to talk?
• 16:01
  Speaker 1: Okay, I have.
• 16:02
  Speaker 3: No idea, it's it's it's not on my phone. It's
• 16:05
  Speaker 3: a random number. Okay. Sure, Oh my god, thank you
• 16:10
  Speaker 3: said yes, it's so weird. I just can't seem to
• 16:12
  Speaker 3: get you out of my head and I can't wait
• 16:15
  Speaker 3: to chat with you more in a bit XO. And
• 16:18
  Speaker 3: then she just sent me a oh okay, you can
• 16:22
  Speaker 3: do that thing with Apple where you send a picture
• 16:24
  Speaker 3: and you can assign and you can do that all right,
• 16:28
  Speaker 3: So that's fine. Oh oh and now there's audio. Okay,
• 16:31
  Speaker 3: we hook up my thing, my bluetooth. Where's the bluetooth? Okay,
• 16:37
  Speaker 3: so what is this audio?
• 16:41
  Speaker 2: I love you so so so.
• 16:43
  Speaker 1: So so much. Oh god, oh that's probably fine.
• 16:48
  Speaker 3: Okay, I guess I just uh do I say I
• 16:54
  Speaker 3: love you too? Like? What do I say?
• 16:55
  Speaker 1: Sure? Shit?
• 16:56
  Speaker 3: Hope not thanks question mark strange stuff. Keep you updated
• 17:02
  Speaker 3: on that weird situation anyways. Uh, let's move on to
• 17:07
  Speaker 3: the body count. Now she's gone radio silent. What a
• 17:13
  Speaker 3: weird day. Oh goodness. This is Close Encounters of the
• 17:17
  Speaker 3: Third Kind from nineteen seventy seven, released on December fourteenth
• 17:20
  Speaker 3: of that year in the US. Weird time to release
• 17:23
  Speaker 3: a sci fi alien movie, rated PG because PG thirteen
• 17:27
  Speaker 3: didn't exist yet. No sex and nudity, although you could
• 17:30
  Speaker 3: literally see the mom's boobs multiple times.
• 17:34
  Speaker 1: Through these not nude in the seventies. She was wearing
• 17:38
  Speaker 1: a top. You're lucky.
• 17:39
  Speaker 3: She just like this, just like the Stufford Wives wearing
• 17:42
  Speaker 3: sheer dress, boobs out PG got it. No violence in
• 17:47
  Speaker 3: go or mild profanity, no alcohol, drugs and smoking, and
• 17:50
  Speaker 3: mild frightening and intense scenes. There's a three different run times,
• 17:55
  Speaker 3: two fifteen for the theatrical to twelve for the special edition,
• 17:58
  Speaker 3: and two seventeen for the director's cut. The director's cut
• 18:01
  Speaker 3: is Steven Spielberg's preferred cut. Listed as a drama sci fi.
• 18:05
  Speaker 3: We're making an exception for this one. Typically it has
• 18:08
  Speaker 3: to be listed horror on IMDb, but we already did Alien,
• 18:13
  Speaker 3: which would have been probably the essential one I chose, Yeah,
• 18:17
  Speaker 3: but we're doing this one, so you know. Anyways. Directed
• 18:21
  Speaker 3: by Steve Steven Spielberg everybody knows this guy. We're gonna
• 18:24
  Speaker 3: talk about him in a second anyways. Written by Steven Spielberg,
• 18:27
  Speaker 3: who writes just about everything he directs. There was also
• 18:30
  Speaker 3: four other writers, though they were uncredited, and I'm not
• 18:33
  Speaker 3: going into all that because fuck it. Composed by John Williams,
• 18:37
  Speaker 3: who also composed most, if not all, of Steven Spielberg's movies,
• 18:41
  Speaker 3: Star Wars one through nine and every Indiana Jones movie.
• 18:44
  Speaker 3: So just a couple of things.
• 18:46
  Speaker 1: Nothing you'd have heard of.
• 18:47
  Speaker 3: I haven't even seen any of those. Cinematography by vill
• 18:51
  Speaker 3: Moo's Zigmund Zigmund, who also did the cinematography for Deer Hunter, Sorry,
• 18:57
  Speaker 3: the Deer Hunter Blowout, and The Witches of East. Edited
• 19:01
  Speaker 3: by Michael Kahn, who also edited Indiana Jones one through four,
• 19:04
  Speaker 3: Jurassic Park one through two, and the nineteen ninety nine
• 19:08
  Speaker 3: The Haunting starring Richard Dreyfuss as Roy Neary. He was
• 19:11
  Speaker 3: in Jaws as Hooper Francois Trufa as Claude Lacombe. He
• 19:17
  Speaker 3: only has sixteen credits, fourteen of which were prior to
• 19:20
  Speaker 3: this movie, and only one after, called The Green Room
• 19:23
  Speaker 3: nineteen seventy eight as Julian Devine. Terry Gar is Ronnie Neary,
• 19:28
  Speaker 3: who was also in Dumb and Dumber as Helen Swanson.
• 19:31
  Speaker 1: What not even mister mom?
• 19:33
  Speaker 3: Really I know her? I put what I know them from? Okay,
• 19:40
  Speaker 3: mister mom is who missus mom?
• 19:43
  Speaker 2: Yes?
• 19:43
  Speaker 1: Is missus Mom. She's also a mom and dad safe
• 19:46
  Speaker 1: the world?
• 19:46
  Speaker 3: Okay. Well. Melinda Dellon is Jillian Gullier, who is also
• 19:50
  Speaker 3: in Magnolia as Rose Gator. And Bob Balabin as David
• 19:54
  Speaker 3: Laughlin who was also in Altered States as Arthur Rosenberg.
• 19:57
  Speaker 3: I know Bob Balabin from Seinfeld. He plays the own
• 20:01
  Speaker 3: owner of CBS or something like that.
• 20:03
  Speaker 1: He's also in a lot of Wes Anderson.
• 20:05
  Speaker 3: Project that too. Yes. Estimated budget of twenty million, grossing
• 20:09
  Speaker 3: three hundred and six point nine million, so a couple
• 20:11
  Speaker 3: extra dollars thereop. This movie was filmed all over the
• 20:14
  Speaker 3: goddamn place, Los Angeles, California, multiple cities in Alabama, k Retaro,
• 20:21
  Speaker 3: Something That Right, Mexico, Maharastraw, India, and Devil's Tower National Monument,
• 20:28
  Speaker 3: My Wyoming. You can watch this on Amazon and Plex
• 20:31
  Speaker 3: for a three to ninety nine rental movies that came
• 20:33
  Speaker 3: out around the same time, Pete's Dragon, Saturday Night Fever,
• 20:37
  Speaker 3: The Incredible Melting Man returned to Buggy Creek and Buck Rogers.
• 20:41
  Speaker 1: I've seen none of these.
• 20:43
  Speaker 3: I know IMDb summary. In Indiana, Electric Lineman finds his
• 20:49
  Speaker 3: quite an ordinary daily life turn upside down after a
• 20:51
  Speaker 3: close encounter with the UFO not of the Three Whatever,
• 20:55
  Speaker 3: spurring him into an obsessed cross country quest for answers.
• 20:58
  Speaker 3: As a momentous event approaches, let's go into the autopsy.
• 21:05
  Speaker 3: I was gonna say, final.
• 21:06
  Speaker 1: Thoughts, all done here, guys, you got it. You heard
• 21:10
  Speaker 1: our thoughts about other things.
• 21:13
  Speaker 3: Do bye? All right? Overall thoughts.
• 21:17
  Speaker 1: I really enjoy this movie. It's it's so fun. It's
• 21:21
  Speaker 1: got this nostalgia to it that you just can't replace.
• 21:25
  Speaker 1: You can't. It's hard to describe, almost, like how you're
• 21:31
  Speaker 1: in the moment with Richard Dreyfus and you're you're wondering
• 21:35
  Speaker 1: what it's all building to, and like the way that
• 21:40
  Speaker 1: it's designed, the way it just carries you along, and
• 21:44
  Speaker 1: how important, Like the music really pulls you into the film,
• 21:49
  Speaker 1: and it's like it feels nostalgic. It's from nineteen seventy seven,
• 21:52
  Speaker 1: it's years before we were born. And it still feels
• 21:57
  Speaker 1: like part of your childhood almost. I mean makes sense
• 22:00
  Speaker 1: because you know things like et it feels like that.
• 22:05
  Speaker 1: I'm sure it has nothing to do with the director
• 22:07
  Speaker 1: or the score or any of that.
• 22:08
  Speaker 3: No, not at all.
• 22:11
  Speaker 1: But I really love this movie. I've seen people talk
• 22:14
  Speaker 1: about it being slow and whatnot. I don't think it's slow.
• 22:17
  Speaker 1: I think it is building up anticipation and you have
• 22:22
  Speaker 1: to have patience for what it's trying to do. You don't.
• 22:25
  Speaker 1: This is a movie that you have to wait for
• 22:27
  Speaker 1: that payoff, and you get a payoff.
• 22:29
  Speaker 3: See, And I disagree overall thoughts it is take it outside.
• 22:33
  Speaker 3: It is a slow movie, but that's okay that just
• 22:37
  Speaker 3: because the movie is slow doesn't mean it also can't
• 22:40
  Speaker 3: be interesting. It is a slow moving movie.
• 22:44
  Speaker 1: I call it PACEDE Like, it's not slow. It's it's
• 22:48
  Speaker 1: not rushing to where it's getting.
• 22:51
  Speaker 3: Yeah, but just because it's slow doesn't mean it's That's
• 22:54
  Speaker 3: what I'm saying this. Just because I'm saying it's slow
• 22:56
  Speaker 3: moving doesn't mean it's not interesting. True, it's just a
• 23:01
  Speaker 3: two hour, seventeen minute you know, build up to the
• 23:04
  Speaker 3: final thing that happens.
• 23:06
  Speaker 1: Yeah, I get you.
• 23:07
  Speaker 3: So you know it's not. I don't find it really
• 23:10
  Speaker 3: boring at times. I feel some elements are not elements,
• 23:14
  Speaker 3: but some parts probably could have been cut a little
• 23:16
  Speaker 3: bit shorter, like that whole. I mean, it's great when
• 23:19
  Speaker 3: he's manic and throwing everything inside it, but like they
• 23:23
  Speaker 3: could have cut that down severely. It went on for
• 23:26
  Speaker 3: like a little too long for me.
• 23:29
  Speaker 1: And the only reason I disagree with that is because
• 23:32
  Speaker 1: the fact that his wife is like, you know what
• 23:35
  Speaker 1: I'm done now? Yeah, you really have to build up
• 23:38
  Speaker 1: that she is actively staring him the face. He's got
• 23:41
  Speaker 1: several minutes there to course correct, yeah, and really chill
• 23:46
  Speaker 1: his shit out, and he is just continuously making it worse.
• 23:50
  Speaker 1: But he is drawing a crowd, he is embarrassing his wife,
• 23:53
  Speaker 1: he's not listening to her, he is destroying her things,
• 23:57
  Speaker 1: and he is too focused on his thing to notice
• 24:01
  Speaker 1: how much he's upsetting his wife to the point where
• 24:04
  Speaker 1: she left in her pajamas.
• 24:07
  Speaker 3: But it's been, it been. It was bad before that instance.
• 24:10
  Speaker 1: Yeah, Like he was kind of already a bit like
• 24:14
  Speaker 1: aloof or just not He's kind of absent prior to that, really,
• 24:20
  Speaker 1: but he just kind of seemed angry prior to that, like,
• 24:22
  Speaker 1: you get annoyed if things weren't going the way he
• 24:24
  Speaker 1: wanted to.
• 24:25
  Speaker 3: I mean, he did have the world's most aggravating children.
• 24:28
  Speaker 3: Those kids were fucking annoying.
• 24:31
  Speaker 1: Yeah, probably because their dad was too busy not paying
• 24:34
  Speaker 1: attention to them. As we've learned from parenting, the less
• 24:37
  Speaker 1: you pay attention to your kids, the crazier they get.
• 24:40
  Speaker 3: And he had that one boy jump in the crib
• 24:44
  Speaker 3: and start bashing a doll to pieces, and he was like,
• 24:46
  Speaker 3: you are minutes from being killed.
• 24:49
  Speaker 1: Yeah, and he doesn't. He lets it go on for
• 24:51
  Speaker 1: several minutes before he says anything to him. He literally
• 24:55
  Speaker 1: gets to the point where now he's pissed off before
• 24:58
  Speaker 1: he actually intervenes. So, yeah, Bro's just too busy not
• 25:02
  Speaker 1: paying attention to his family, and then he has this
• 25:06
  Speaker 1: encounter and then he go he just.
• 25:08
  Speaker 3: Completely loses his fucking mind.
• 25:11
  Speaker 1: Yeah, Like he's carving a mashed potato mountain. His son
• 25:16
  Speaker 1: is crying. He's crying because he doesn't know what's wrong
• 25:21
  Speaker 1: with him. His son is crying because he's scared, he
• 25:24
  Speaker 1: doesn't understand what's happening to his dad. And Richard Dreyfus
• 25:28
  Speaker 1: can't stop talking about himself. He's like, your son is
• 25:30
  Speaker 1: sitting right there crying because he's scared, and you're not
• 25:33
  Speaker 1: even comforting him, not even like trying to help him.
• 25:37
  Speaker 1: You're just thinking about yourself.
• 25:39
  Speaker 3: Still, there was so many terrible parents in this movie,
• 25:43
  Speaker 3: so many terrible parents. Richard dreyf is terrible parent. The
• 25:47
  Speaker 3: other lady that he has a little thing with because
• 25:50
  Speaker 3: they're connected. Terrible mother lets her kid run outside into
• 25:54
  Speaker 3: the road and almost get hit, then lets her kid
• 25:57
  Speaker 3: get abducted by aliens. Horrible mother, just trucking. That's a matter.
• 26:01
  Speaker 3: He's a fucking three year old. I'll catch that son
• 26:03
  Speaker 3: of a pitch so quick. She's just horrible parenting in
• 26:07
  Speaker 3: this movie. And uh, how many did Richard Dreyfus have
• 26:11
  Speaker 3: had three? Yeah, you gotta be more present than that
• 26:15
  Speaker 3: when you have three kids. They were just running a
• 26:18
  Speaker 3: muck all over the house.
• 26:19
  Speaker 1: Yeah, like you even see it from the get go though.
• 26:21
  Speaker 1: He's not a great dad to start, because he promised
• 26:24
  Speaker 1: the kids that they could go do something like a
• 26:26
  Speaker 1: movie or goofy golf. And he's like, well, let's go
• 26:28
  Speaker 1: see Bamby and they're like, we don't want to see Bamby.
• 26:30
  Speaker 1: He's like, well, do you want to go to a
• 26:32
  Speaker 1: fun movie or just be miserable playing golf? Bro, you
• 26:37
  Speaker 1: let them pick, then you let them pick, don't be
• 26:39
  Speaker 1: in the.
• 26:39
  Speaker 3: They were both like, goofy golf.
• 26:41
  Speaker 1: He's like, yeah, he's annoyed that his kids want to
• 26:45
  Speaker 1: do the activity they want to do, not go sit
• 26:47
  Speaker 1: to a movie where he can just not participate.
• 26:51
  Speaker 3: Yeah. See, the mom have a job.
• 26:54
  Speaker 1: I don't think we established whether or not she does,
• 26:57
  Speaker 1: but she's clearly very used to this kind of stuff.
• 27:01
  Speaker 1: And then when you add in the now he's acting
• 27:04
  Speaker 1: bat shit crazy and also not in scaring the children.
• 27:09
  Speaker 1: She had every right to be like, you know what,
• 27:11
  Speaker 1: I'm I'm good. We'll all be a lot happier if
• 27:14
  Speaker 1: this isn't a day to day thing.
• 27:17
  Speaker 3: Yeah, and I totally understand her leaving. I am one
• 27:20
  Speaker 3: percent on her side, But all the screaming she does
• 27:24
  Speaker 3: at him, not helping the kids either, just constantly yelling
• 27:27
  Speaker 3: and berating him for everything, And he's like, I don't
• 27:30
  Speaker 3: know what's wrong with me. I just keep seeing this
• 27:32
  Speaker 3: thing in my head. What am I supposed to do?
• 27:34
  Speaker 3: No support there at all.
• 27:35
  Speaker 1: Probably would have gotten more support had he been a
• 27:38
  Speaker 1: better father. And partner prior to that, like he probably
• 27:43
  Speaker 1: had would have had more equity in his support, but
• 27:47
  Speaker 1: he's put no time or energy into being a present
• 27:52
  Speaker 1: family member.
• 27:53
  Speaker 3: That's the problem with this movie. We don't get a
• 27:55
  Speaker 3: lot of information before he has that encounter. You know.
• 27:59
  Speaker 3: We get him at the house kind of being frustrated
• 28:02
  Speaker 3: with the kids and not wanting to go do the
• 28:04
  Speaker 3: thing that they want to do, and then he gets
• 28:05
  Speaker 3: the call. Then he goes out, so you get a
• 28:08
  Speaker 3: glimpse that gives you the impression, Well, I guess he's
• 28:11
  Speaker 3: just a terrible dad.
• 28:13
  Speaker 2: Yeah.
• 28:13
  Speaker 3: We don't get to see any good things he does,
• 28:15
  Speaker 3: so it's just kind of assumed that he's not a
• 28:18
  Speaker 3: good father.
• 28:19
  Speaker 1: Yeah, and I think that's really what they wanted you
• 28:22
  Speaker 1: to get because on that long of a film, you've
• 28:25
  Speaker 1: got a time crunch to get some backstory in there.
• 28:28
  Speaker 1: And yeah, the backstory is, Hey, they're supposed to be
• 28:31
  Speaker 1: planning a fun family time and not only is he
• 28:34
  Speaker 1: getting annoyed that they're not just doing what he wants
• 28:36
  Speaker 1: to do, but he's screaming at his children. He tells
• 28:42
  Speaker 1: them they can watch a movie that his wife's like
• 28:43
  Speaker 1: that is a four hour movie.
• 28:45
  Speaker 3: The Ten Commandments.
• 28:47
  Speaker 1: Yeah, and she's like, why would you say they could
• 28:48
  Speaker 1: watch that movie? Because yeah, but probably because he just
• 28:51
  Speaker 1: said they could, probably didn't think look at what movie
• 28:54
  Speaker 1: they were watching. Probably didn't look how much time was
• 28:57
  Speaker 1: in that movie, just put it on and said, yeah,
• 28:59
  Speaker 1: you can stay up for this.
• 29:00
  Speaker 3: Well, it's not like streaming where you pop something on
• 29:03
  Speaker 3: and you can see how much time is left. This
• 29:05
  Speaker 3: was cable TV in the seventies. Yeah, but you have
• 29:08
  Speaker 3: in the seventies, you'd have to go find the newspaper.
• 29:10
  Speaker 1: You get a TV guy.
• 29:12
  Speaker 3: How much he's on the TV guy? No newspaper was
• 29:15
  Speaker 3: for movies, that's right.
• 29:16
  Speaker 1: Yeah, but you'd get a TV guide or something like that.
• 29:19
  Speaker 1: But yeah, he just randomly agrees, and she's like, why
• 29:23
  Speaker 1: would you do that?
• 29:24
  Speaker 3: I think my biggest issue with this movie is the
• 29:26
  Speaker 3: fact that we're following Richard Dreyfus and he's I'm just
• 29:30
  Speaker 3: not that he's a bad guy, but he's letting his
• 29:33
  Speaker 3: life fall to the wayside for whatever he's seeing in
• 29:36
  Speaker 3: his head. He's not a great protagonist.
• 29:38
  Speaker 1: Yeah, Whereas on the flip side, you've got the mom
• 29:41
  Speaker 1: whose name is what again? I'm so sorry Terry Garr no, No,
• 29:45
  Speaker 1: the other the other person we're following.
• 29:47
  Speaker 3: Oh fuck, I don't know. Did I name her Gillian?
• 29:52
  Speaker 1: Yeah? Gillian?
• 29:53
  Speaker 3: Yeah? Probably?
• 29:54
  Speaker 1: Yeah? And she is she? Her motivation through the entire
• 30:00
  Speaker 1: thing is her child? Yeah? Did she fuck up and
• 30:03
  Speaker 1: get freaked out and let her kid go? Yes?
• 30:05
  Speaker 3: Yeah?
• 30:06
  Speaker 1: Should she have better security on her house that her
• 30:08
  Speaker 1: toddler can't get out? Also? Yes? But I tend to
• 30:12
  Speaker 1: be more forgiving of her because she is a single parent.
• 30:16
  Speaker 3: Yeah, so you should be even more attached to that kid.
• 30:20
  Speaker 1: Well, yes, I understand that. But at the same time,
• 30:22
  Speaker 1: if you're doing the job of two people by yourself.
• 30:25
  Speaker 3: If this was flipped around and it was a man,
• 30:27
  Speaker 3: would you feel the same exact way.
• 30:28
  Speaker 1: If he was a single parent he and which.
• 30:32
  Speaker 3: Fucked up and let the child go, you'd feel the
• 30:34
  Speaker 3: same way if Yeah, I'm just making sure you're not
• 30:36
  Speaker 3: only having sympathy for a woman. No, I'm just sure sure.
• 30:40
  Speaker 1: No, I literally said, because he is right there in
• 30:44
  Speaker 1: front of his kids and he is getting annoyed at
• 30:46
  Speaker 1: their existence.
• 30:47
  Speaker 3: No, I'm saying if the roles were reversed for Jillian
• 30:50
  Speaker 3: and Gillian was a man, Yeah, Like I said, it's
• 30:54
  Speaker 3: like a single dad and he let the kid go,
• 30:55
  Speaker 3: you'd still feel the same way. Yeah, okay, don't We're good? Yeah,
• 31:00
  Speaker 3: so they we're fine.
• 31:03
  Speaker 1: But yeah, Jillian, I tend to give her a little
• 31:05
  Speaker 1: more because she's by herself. So yeah, sometimes you're doing
• 31:09
  Speaker 1: your damnedest and things still slip through anyway, that's the
• 31:12
  Speaker 1: reality is.
• 31:13
  Speaker 3: Well, and who has a dog door? Jesus Christ, what
• 31:16
  Speaker 3: a weird thing to have. Did they even have a dog?
• 31:19
  Speaker 1: No? But I mean, who knows that could have been
• 31:22
  Speaker 1: it was already there.
• 31:22
  Speaker 3: I don't remember seeing a.
• 31:23
  Speaker 1: Dog, but you know, and in that moment everything's flying
• 31:28
  Speaker 1: around the kitchen. That'd be scaring the shit out of
• 31:30
  Speaker 1: me too.
• 31:31
  Speaker 3: It would almost make me want to grab my child
• 31:32
  Speaker 3: and hold on to them for dear life.
• 31:34
  Speaker 1: Yeah, so the whole aisles is shaking and she grabs back. Well,
• 31:37
  Speaker 1: that kid is also really friggin determined, and she at
• 31:40
  Speaker 1: the second she grabs and then she looks down and
• 31:43
  Speaker 1: then his feet are out the door, like that kid
• 31:44
  Speaker 1: is trucking.
• 31:45
  Speaker 3: Yeah, and the wells when that's when he gets abducted
• 31:48
  Speaker 3: because she tries to pull him back in, and.
• 31:50
  Speaker 1: You know, yeah, so like the two seconds she lets
• 31:53
  Speaker 1: go of him because before that she is she has
• 31:56
  Speaker 1: grabbed him multiple times and pulled him back because these
• 31:58
  Speaker 1: aliens are determined to get this kid, and he's determined
• 32:02
  Speaker 1: to go. The two seconds she lets go, he's gone.
• 32:05
  Speaker 3: Yeah.
• 32:06
  Speaker 1: But she her entire motivation the movie is trying to
• 32:09
  Speaker 1: get Barry back. Yeah, and she is chasing all this
• 32:13
  Speaker 1: not because she really really cares about it. She is
• 32:16
  Speaker 1: experiencing the same stuff. But at the end of the day,
• 32:18
  Speaker 1: when even when they get to the point of we're
• 32:20
  Speaker 1: going to see what's going on, she literally says, I
• 32:23
  Speaker 1: don't need to go down there. He's not there.
• 32:26
  Speaker 3: So that's what I'm saying. I don't think she was
• 32:28
  Speaker 3: doing this to get her son back. She was doing
• 32:30
  Speaker 3: this because she wanted answers, right, And I mean.
• 32:33
  Speaker 1: Well, yeah, she wanted answer. She wanted to find her son.
• 32:36
  Speaker 1: But when she got down there, she's like, he's not
• 32:38
  Speaker 1: going to be there, So why would I go down there.
• 32:42
  Speaker 1: I don't know where they took him, but it's not
• 32:43
  Speaker 1: where they are, it's not where these military people are.
• 32:46
  Speaker 1: I think she was hoping for the answers to where
• 32:48
  Speaker 1: her son was and to get her son back, and
• 32:50
  Speaker 1: she genuinely believed that she went on this trip and hope,
• 32:54
  Speaker 1: and when she got there, I don't think he's going
• 32:56
  Speaker 1: to be there, and she was going to leave. She
• 32:58
  Speaker 1: so where you've got Richard Dreyfe is completely devoid, just
• 33:02
  Speaker 1: forget about his family. He starts to fight for them
• 33:04
  Speaker 1: for like half a second until he sees Devil's Tower.
• 33:08
  Speaker 1: She spends the entire time trying to get her kid back.
• 33:12
  Speaker 3: But I don't remember it being like expressed that that's
• 33:15
  Speaker 3: why she was doing it. They all shared the same
• 33:18
  Speaker 3: visions and they were all drawn to this place.
• 33:20
  Speaker 1: Yeah, but his kid wasn't kidnapped. What She literally doesn't
• 33:25
  Speaker 1: care when she thinks he's not gonna be there, and
• 33:27
  Speaker 1: then when she realizes the big ship is here, that's
• 33:31
  Speaker 1: when she goes down.
• 33:32
  Speaker 3: I guess it's just more implied then, because yeah, she don't.
• 33:34
  Speaker 3: I don't think she ever states that, but yeah, uh,
• 33:38
  Speaker 3: Richard or what's his name? NEARI near Roy, neary Roy.
• 33:43
  Speaker 3: His family fucks off and then we never see them again,
• 33:46
  Speaker 3: just such an open ended what happened to them? Like
• 33:49
  Speaker 3: hope they're fine?
• 33:51
  Speaker 1: Yeah, because he makes one phone call where he says
• 33:54
  Speaker 1: I'll do anything, and then he never fucking speaks to
• 33:57
  Speaker 1: them again.
• 33:58
  Speaker 3: Yeah, yeah, they're gone, which is very which is just very.
• 34:01
  Speaker 1: Stress the best because that's the effort he was putting in.
• 34:03
  Speaker 1: It was never gonna work.
• 34:04
  Speaker 3: No, it was never gonna work. But thank god he
• 34:07
  Speaker 3: got married and had three kids, because now I guess
• 34:10
  Speaker 3: they're never going to have a father because he's just
• 34:14
  Speaker 3: fucked off onto the ship.
• 34:15
  Speaker 1: So, which is what like really solidified Roy is the
• 34:19
  Speaker 1: shittiest dad. He literally went, ah, yeah, no, I know.
• 34:22
  Speaker 1: I'm a father of three and I was the primary
• 34:25
  Speaker 1: breadwinner and they all depend on me.
• 34:27
  Speaker 3: But I'm going on the ship.
• 34:28
  Speaker 1: I'm going to fucking space and you all can deal
• 34:31
  Speaker 1: with it, right. And as soon as Jillian got her son,
• 34:35
  Speaker 1: she's like, well I don't give a shit about this anymore. Bye.
• 34:38
  Speaker 3: And that's the one thing I don't understand. So these
• 34:41
  Speaker 3: aliens have been kidnapping people for thirty something years whatever,
• 34:48
  Speaker 3: the planes return, the ship's return, they're you know, they're
• 34:52
  Speaker 3: from like the forties and fifties. But then they pick
• 34:55
  Speaker 3: up a kid the other day who comes back with
• 34:58
  Speaker 3: all the people that had been on that ship for
• 35:00
  Speaker 3: twenty or thirty year. I don't get that part. That's
• 35:02
  Speaker 3: the part I don't understand why is he returned after
• 35:06
  Speaker 3: a few days, but all those other people that were
• 35:08
  Speaker 3: on that ship were on there for like decades.
• 35:13
  Speaker 1: They don't really say. I mean, it could just be
• 35:16
  Speaker 1: that they wanted to wrap up their testing and they
• 35:19
  Speaker 1: needed some more modern people to maybe tie off what
• 35:22
  Speaker 1: they were doing, or because he was a child, they
• 35:25
  Speaker 1: only wanted him for a brief time and not to
• 35:27
  Speaker 1: keep him from his mother.
• 35:28
  Speaker 3: They also, we have no idea what happened before this
• 35:31
  Speaker 3: and how all of those people got to that ship
• 35:34
  Speaker 3: in the first place. I'm assuming all of those people
• 35:37
  Speaker 3: before had some of the same shared delusions or not delusions,
• 35:40
  Speaker 3: but shared It's almost like the stand, right, and Stephen
• 35:44
  Speaker 3: King's the stand.
• 35:45
  Speaker 1: They all have the dreams about mother Abigail.
• 35:48
  Speaker 3: Yeah, they all have those dreams and they're all driven
• 35:51
  Speaker 3: to one place. It's very much like that. So it's like,
• 35:55
  Speaker 3: we don't know how that's been happening before. The government
• 35:58
  Speaker 3: kind of not interrupted, but intervene to try to make
• 36:02
  Speaker 3: contact with these things.
• 36:03
  Speaker 1: Yeah, because of all the people that had those visions
• 36:06
  Speaker 1: and got that far, Roy was the only one who
• 36:08
  Speaker 1: went all the way and was willing to go on
• 36:10
  Speaker 1: that ship because again, Jillian's like, now I got my son.
• 36:13
  Speaker 1: I don't give a shit about any of this anymore.
• 36:15
  Speaker 3: Well, yeah, and then all the people that they hand selected,
• 36:17
  Speaker 3: they don't really want to be there. They're just the
• 36:19
  Speaker 3: best of the best.
• 36:20
  Speaker 1: And uh so we volunteers, but the aliens, like, we
• 36:23
  Speaker 1: didn't we invited who we wanted to be here. The
• 36:26
  Speaker 1: government stopped the people that were invited because they had
• 36:29
  Speaker 1: a good half dozen people on that helicopter that were invited.
• 36:32
  Speaker 3: Yeah, three, and only three of them got off to
• 36:35
  Speaker 3: the helicopter. The other whatever. We're like, no, I'm just
• 36:38
  Speaker 3: gonna stay here.
• 36:38
  Speaker 1: Look, their elderly asses weren't going to make it over
• 36:40
  Speaker 1: that mountain.
• 36:41
  Speaker 3: Okay, that's true. They yeah, they were pretty old. So yeah,
• 36:44
  Speaker 3: I guess this has just been going on for however
• 36:46
  Speaker 3: long and they're just lining up in the desert waiting
• 36:49
  Speaker 3: for contact. Yeah, mother ship. So wow, we went Uh
• 36:55
  Speaker 3: that was good. I didn't want to let that. I
• 36:57
  Speaker 3: didn't want I didn't want to cut in with my
• 36:59
  Speaker 3: Steven Spielberg, but I did want to talk about him,
• 37:02
  Speaker 3: So kind of switching gears here. But we'll get back
• 37:04
  Speaker 3: to the movie at hand. So Steven Spielberg was a
• 37:09
  Speaker 3: very very amateur filmmaker in the seventies, right, this is
• 37:12
  Speaker 3: very interesting at least I find this interesting. Yeah, and
• 37:14
  Speaker 3: I got all of this from the Amblin website, so
• 37:17
  Speaker 3: it is creditable, creditable, credible, because I was trying to
• 37:21
  Speaker 3: figure out how he landed Jaws and all that stuff,
• 37:23
  Speaker 3: and this is kind of explained in here. So they
• 37:26
  Speaker 3: say on his website that Steven Spielberg wrote and directed
• 37:29
  Speaker 3: Amblin in nineteen sixty eight short short movie. His first
• 37:32
  Speaker 3: short film on thirty five, But he has four credits
• 37:36
  Speaker 3: before that for short movies. Maybe they weren't on specifically
• 37:40
  Speaker 3: thirty five, so whatever, And he was still a college student.
• 37:44
  Speaker 3: The film caught the eye of Universal Vice president Sidney Sheinberg,
• 37:48
  Speaker 3: who would offer Spielberg a seven year contract with Universal
• 37:51
  Speaker 3: Television just from the short film. Spielberg likes to joke
• 37:55
  Speaker 3: that he quit college so fast that he didn't even
• 37:58
  Speaker 3: bottle her to clean out his locker. So this brings
• 38:02
  Speaker 3: us to duel in nineteen seventy one, during his tenure
• 38:05
  Speaker 3: as a Universal Television director, he helmed eleven projects of
• 38:09
  Speaker 3: varying lengths from the standard thirty minute epistotic television fair
• 38:13
  Speaker 3: to near feature length television works, including Colombo The Name
• 38:18
  Speaker 3: of the Game, to a trio of made for television movies,
• 38:21
  Speaker 3: including his breakthrough Duel, followed by Something Evil and Then Savage.
• 38:27
  Speaker 3: The nineteen seventy one telefilm Duel was released in theaters
• 38:30
  Speaker 3: and international markets in nineteen seventy two and nineteen seventy three,
• 38:33
  Speaker 3: which eventually led him out of television and into feature filmmaking.
• 38:37
  Speaker 3: That brings us to seventy four. With The Sugarland Express,
• 38:40
  Speaker 3: he worked with producer Richard Zanuk and David Brown, also
• 38:45
  Speaker 3: producers of that film. Academy Award winner Goldie Hawn produced
• 38:48
  Speaker 3: that film William Atherton, Michael Saxson, Ben Johnson. My watch list, Yeah,
• 38:55
  Speaker 3: Sugarland Express is pretty good. It was, Let's see. Critic
• 38:59
  Speaker 3: Pauline Kale proclaimed that quote, Steven Spielberg could be that
• 39:03
  Speaker 3: rarity among directors, a born entertainer, perhaps a new generation's
• 39:07
  Speaker 3: Howard Hawks in terms of the pleasure that the technical
• 39:11
  Speaker 3: assurance gives an audience, The Sugarland Express is one of
• 39:13
  Speaker 3: the most phenomenal debut films in the history of movies.
• 39:16
  Speaker 3: End quote. So that brings us to Jaws, which he
• 39:20
  Speaker 3: pitched to Zanuck and Brown, who he worked with again
• 39:23
  Speaker 3: on this one. And apparently this was one of the
• 39:25
  Speaker 3: most grueling location shots in all of cinematic history. It
• 39:29
  Speaker 3: was on Martha's vineyard is where they shot it. Yeah,
• 39:32
  Speaker 3: but he did, you know, it works obviously, and this
• 39:35
  Speaker 3: actually redefined the term blockbuster, you know what it meant
• 39:39
  Speaker 3: because people were lining up again and again to see
• 39:42
  Speaker 3: that movie, and it broke one hundred million dollars at
• 39:44
  Speaker 3: the box office and it would go on to make
• 39:46
  Speaker 3: four hundred and seventy one million dollars worldwide. Then that
• 39:50
  Speaker 3: brings us to Close Encounters nineteen seventy seven. It is
• 39:53
  Speaker 3: written and directed by Spielberg, and it was a project
• 39:56
  Speaker 3: that he had conceived while pitching to the studios before Jaws,
• 40:00
  Speaker 3: and this is his first wholly original vision he'd bring
• 40:03
  Speaker 3: to the future. Film won Oscars for Best Cinematography and
• 40:07
  Speaker 3: a Special Achievement OSCAR for Sound Effects. The movie was
• 40:10
  Speaker 3: also nominated for Best Actress Melinda or in a Sporting
• 40:14
  Speaker 3: Role Melinda Dillon, Best Art Direction, Best Sound, Best Filmmaking
• 40:19
  Speaker 3: or Film Editing, Best Visual Effects, Best Original Score, Best Director,
• 40:23
  Speaker 3: all the things. Yeah, and then in the nineteen eighties
• 40:26
  Speaker 3: is when he would pair up with George Lucas to
• 40:28
  Speaker 3: go on and do you know et Raiders of the
• 40:32
  Speaker 3: Lost Dark the other Indiana Jones movies. I can't Temple
• 40:35
  Speaker 3: of Doom when you know Grimlins. Of course, no, he
• 40:38
  Speaker 3: didn't do Grimlins. That was Joe Dante, but he produced Skrimlins. Sorry,
• 40:42
  Speaker 3: but and then of course Grimlins and Temple of Doom
• 40:44
  Speaker 3: or you know what made the PG thirteen rating a thing.
• 40:49
  Speaker 3: And in terms of big budgets, I mean, what did
• 40:53
  Speaker 3: this have? Twenty million dollar budget? Yeah, you go right past, Yeah,
• 40:56
  Speaker 3: twenty million dollars for nineteen seventy seven. That's a pretty
• 40:58
  Speaker 3: massive budget. There was only a few other movies that
• 41:01
  Speaker 3: really did something like this. We have Forbidden Planet in
• 41:05
  Speaker 3: nineteen fifty six, widely considered one of the first high
• 41:08
  Speaker 3: budget sci fi films. Two thousand and one of Space Odyssey.
• 41:11
  Speaker 3: I mean, this is one of the most ridiculously for
• 41:15
  Speaker 3: nineteen sixties eight. It's crazy how that movie looks. If
• 41:20
  Speaker 3: the moon landing was faked, which I don't believe it was,
• 41:22
  Speaker 3: Kubrick would have done it. There's like, if you see
• 41:24
  Speaker 3: that movie, you're like, how the fuck was this film?
• 41:26
  Speaker 3: In nineteen sixty eight. Then of course this movie Star Wars,
• 41:30
  Speaker 3: but that's not really it's not really it's a sci
• 41:33
  Speaker 3: fi movie, but it's more like an adventure fantasy stuff
• 41:35
  Speaker 3: like that. It's not really not Aliens, even though there's
• 41:38
  Speaker 3: aliens in it. And then of course Alien from nineteen
• 41:39
  Speaker 3: seventy nine. So it's really only five films that really
• 41:42
  Speaker 3: did with this movie did. Of course, there are three
• 41:47
  Speaker 3: cuts of this, which I already mentioned. The theater or
• 41:50
  Speaker 3: the director's cut is the one that I recommend, and
• 41:55
  Speaker 3: it is interesting because in nineteen seventy seven, Star Wars
• 41:58
  Speaker 3: came out the same year as this. Obviously Star Wars
• 42:01
  Speaker 3: in this feel totally different because I don't know this one.
• 42:06
  Speaker 3: This one feels much more like a mystery exploration movie,
• 42:10
  Speaker 3: whereas Star Wars is just kind of like, I don't
• 42:13
  Speaker 3: even like, how would you even described Star Wars Just it's.
• 42:16
  Speaker 1: An action adventure sci fi, where this is more of
• 42:19
  Speaker 1: a grounded sci fi.
• 42:20
  Speaker 3: Yeah, this is more of a grounded film, yeah, And
• 42:23
  Speaker 3: Star Wars is much more fantastical, yeah, taking place most
• 42:27
  Speaker 3: that's the.
• 42:28
  Speaker 1: Whole other universe. This is bringing sci fi to our world, right.
• 42:31
  Speaker 3: There you go, There you go, exactly. So, yeah, Star
• 42:34
  Speaker 3: Wars is an entirely other galaxy where Close Encounters is
• 42:38
  Speaker 3: based basically in you know reality. So this movie is
• 42:43
  Speaker 3: a film about like disruption, not necessarily invasion, not destruction,
• 42:48
  Speaker 3: not intrusion, the kind that slips into your home, your mind,
• 42:51
  Speaker 3: your identity. And I think what makes it unsettling is
• 42:55
  Speaker 3: it doesn't ask if what if aliens attack? But what
• 42:59
  Speaker 3: if they choose you? And we talk about that. This
• 43:01
  Speaker 3: isn't This is one of the rare movies, sci fi
• 43:03
  Speaker 3: movies that don't have us fighting aliens. Usually in alien
• 43:07
  Speaker 3: movies they come to here to attack us, or they
• 43:11
  Speaker 3: come here and we attack them. This is one of
• 43:13
  Speaker 3: the like, not only films, but earliest film I think,
• 43:17
  Speaker 3: to depict us working with them to try and I
• 43:21
  Speaker 3: mean they're trying to talk to the ship with that
• 43:23
  Speaker 3: big keyboard.
• 43:25
  Speaker 1: Yeah, you know, we were talking about it, we were
• 43:28
  Speaker 1: watching the movie. There are so few films where it's
• 43:32
  Speaker 1: like alien contact is not a negative. There's like this, there's.
• 43:35
  Speaker 3: Et well, and even in ET they start wanting to
• 43:39
  Speaker 3: do experiments and shit on them.
• 43:41
  Speaker 1: They're wanting to experiment on him, but his contact isn't hostile. No,
• 43:46
  Speaker 1: he they are literally there on a like plant finding
• 43:49
  Speaker 1: mission and he accidentally gets left behind. And I think
• 43:55
  Speaker 1: the the idea there is so positive, like, you know,
• 44:00
  Speaker 1: just because they're not us, maybe there can be some
• 44:03
  Speaker 1: good someone something Being different doesn't make it evil. And
• 44:08
  Speaker 1: we have so many films where alien contact really results
• 44:13
  Speaker 1: in annihilation and destruction, and I always, you know, we
• 44:18
  Speaker 1: were talking when we were watching the movie, I was like,
• 44:20
  Speaker 1: you know, I kind of wonder if the reason that
• 44:21
  Speaker 1: is is because that's how we would be We would
• 44:27
  Speaker 1: respond to an alien presence is immediately.
• 44:30
  Speaker 3: Attacking, shooting it down, especially with and.
• 44:35
  Speaker 1: Because we have a shoot first, asked questions later approach.
• 44:40
  Speaker 1: And different is dangerous and bad has always been a
• 44:44
  Speaker 1: major issue on our planet unfortunately, and I really I
• 44:51
  Speaker 1: think that's why I really enjoyed this one and obviously
• 44:53
  Speaker 1: et because it's the idea of what if it wasn't.
• 44:57
  Speaker 3: Bad, What if you're chosen?
• 45:00
  Speaker 1: What if they just want to learn from you and
• 45:03
  Speaker 1: they want you to learn from them, And what if
• 45:05
  Speaker 1: we could connect and learn from each other and even
• 45:09
  Speaker 1: the people, you know, they took people forty years ago and.
• 45:14
  Speaker 3: They came out looking the same way they did as
• 45:15
  Speaker 3: they went in.
• 45:16
  Speaker 1: Yeah, which can give you a Captain America kind of
• 45:20
  Speaker 1: situation where it's like, cool, so everybody I know is old.
• 45:23
  Speaker 3: Now, oh my friends are dead.
• 45:25
  Speaker 1: But at the same time, it's like they they clearly
• 45:29
  Speaker 1: took good care of them in the meantime. Yeah, And
• 45:33
  Speaker 1: you know, I just think it's a really nice idea,
• 45:36
  Speaker 1: and it's nice to have a positive idea around something
• 45:41
  Speaker 1: we don't understand.
• 45:43
  Speaker 3: Well and being chosen. I don't know, it's weird. I
• 45:47
  Speaker 3: feel like where this movie taps into horror, and that's
• 45:50
  Speaker 3: why I'm like letting it slides, because I feel like
• 45:52
  Speaker 3: the movie weaponizes its ambiguity. You have lights in the
• 45:55
  Speaker 3: sky that don't behave like anything familiar. You have technology
• 46:00
  Speaker 3: failing and eerie synchronized ways people are receiving visions that
• 46:04
  Speaker 3: they don't understand. And there are some definite horror moments,
• 46:07
  Speaker 3: the most iconic of which I would say is when
• 46:12
  Speaker 3: Roy is in his truck and he gets beamed with
• 46:14
  Speaker 3: that light and all the stuff is swirling around, the
• 46:17
  Speaker 3: mailboxes are swinging back and forth like that's a pretty
• 46:19
  Speaker 3: spooky scene.
• 46:21
  Speaker 1: And even more so when Barry, right before Barry is
• 46:24
  Speaker 1: taken and the door flies open and his mom is
• 46:27
  Speaker 1: running to close it, and the they're under the house
• 46:31
  Speaker 1: and the vent screws start coming up, and because yeah,
• 46:35
  Speaker 1: at that point, you do not know if they're hostile
• 46:37
  Speaker 1: or not. They're flying around, but will.
• 46:40
  Speaker 3: They attack, right, And it's like I weirdly feel they
• 46:46
  Speaker 3: are trying to come in peace in a way, because
• 46:49
  Speaker 3: if they want to attack, they want have just blown
• 46:51
  Speaker 3: that house to fuck up. But they're trying to creep in.
• 46:54
  Speaker 3: So it feels even scarier than just blowing up a house.
• 46:59
  Speaker 1: Yeah, they're they're trying to access the house. She is
• 47:02
  Speaker 1: trying to shut up the house. They want they want
• 47:06
  Speaker 1: to get to Barry. That's terrifying because why are you
• 47:10
  Speaker 1: taking a child? And but yeah, if they wanted to
• 47:15
  Speaker 1: actually attack, they would, but it just feels like it
• 47:18
  Speaker 1: feels invasive. It does, but you don't know what the
• 47:21
  Speaker 1: tone of that invasion is.
• 47:23
  Speaker 3: Well, that's because I think he is building the attention
• 47:28
  Speaker 3: through violence or sorry, not through violence, but like in comprehension,
• 47:33
  Speaker 3: the unknown is just there and it's rewriting the character's
• 47:37
  Speaker 3: reality as they understand it. You know, that's classical or
• 47:40
  Speaker 3: DNA if you ask me, it's less monster under the
• 47:43
  Speaker 3: bed and more of like rules of existence no longer apply.
• 47:47
  Speaker 3: Now I'm in a place where I don't understand, like,
• 47:50
  Speaker 3: this isn't this isn't life as I know it. Yeah,
• 47:52
  Speaker 3: everything's acting extremely bizarre, And of course Roy's dissent is
• 47:57
  Speaker 3: very unsettling. He's not a hero. I don't really view
• 48:00
  Speaker 3: him as a protagonist. He's just slowly unraveling sleep deprivation,
• 48:04
  Speaker 3: obsessive compulsive behavior. If you strip away the wonder of
• 48:11
  Speaker 3: like how excited he is about it, his arc plays
• 48:14
  Speaker 3: like a fucking breakdown. He's like breaking down on a
• 48:17
  Speaker 3: psychological level, hardcore.
• 48:19
  Speaker 1: Yeah, because I don't know that you're necessarily rooting for him.
• 48:23
  Speaker 1: But at the same time, when he gets to go
• 48:24
  Speaker 1: to that ship, you're like, well he's getting what he wants.
• 48:28
  Speaker 3: Yeah, I feel happy for him getting what he wants.
• 48:30
  Speaker 1: To know, I don't necessarily like him very much because, yeah.
• 48:32
  Speaker 3: He's especially when he gets on the ship, I'm like, well,
• 48:35
  Speaker 3: fuck you, because that's insane.
• 48:38
  Speaker 1: He's like, yeah, that's what you wanted. But at the
• 48:40
  Speaker 1: same time, I guess, fuck your entire family.
• 48:43
  Speaker 3: That's what I'm saying, Like you just you're getting rid
• 48:45
  Speaker 3: of your entire family. I mean, if I had a
• 48:46
  Speaker 3: chance to ride on a ship with aliens that weren't hostile.
• 48:50
  Speaker 3: I mean, hell yeah, let's go, But not if I
• 48:52
  Speaker 3: had a family, Like, I'm not gonna leave you and
• 48:54
  Speaker 3: our daughter behind because aliens want to take me on
• 48:56
  Speaker 3: a tour of the ship. You know.
• 48:57
  Speaker 1: Yeah, people are on forty years His kids could be
• 49:02
  Speaker 1: older than him by the time it comes back.
• 49:03
  Speaker 3: Can I go, Can we swing by the house and
• 49:05
  Speaker 3: grab my wife and daughter? No? All right, well then
• 49:08
  Speaker 3: I'm gonna have to piece out. I'm sorry, but it's
• 49:12
  Speaker 3: it's like the alien contact for Roy is like this
• 49:15
  Speaker 3: religious awakening, you know what I mean? Like, oh yeah,
• 49:19
  Speaker 3: But also he loses himself, his family, his identity. He's
• 49:22
  Speaker 3: so much more intrigued by being on that ship than anything.
• 49:26
  Speaker 3: And I think that's where this movie pulls me in,
• 49:31
  Speaker 3: is the mystery and the craft behind making you believe
• 49:35
  Speaker 3: every second of this movie.
• 49:37
  Speaker 1: Yeah, And I think it's interesting because you know the
• 49:39
  Speaker 1: way those visions are making people draw this image over
• 49:44
  Speaker 1: and over and over again. It's clearly like a psychic message,
• 49:47
  Speaker 1: come here, Come here, Come here.
• 49:48
  Speaker 3: The Dower, Dowurst, Heavil, the Tower, Devil's Tower, Jesus.
• 49:53
  Speaker 1: Yeah, and they're just trying to show the image because
• 49:55
  Speaker 1: they don't the aliens don't have the word, they have
• 49:58
  Speaker 1: a identifiable landmark.
• 50:01
  Speaker 3: Do do?
• 50:01
  Speaker 1: Do?
• 50:01
  Speaker 3: Do? Right? Is that it?
• 50:04
  Speaker 1: Yes, that's it? And the idea though that they are
• 50:10
  Speaker 1: invading his brain, they're basically not leaving him with a
• 50:14
  Speaker 1: choice either in a sense which is which is creepy,
• 50:19
  Speaker 1: like he's demolishing parts of his house to to build
• 50:24
  Speaker 1: this giant tower because because he feels so so compelled
• 50:29
  Speaker 1: because of what they put in his head, and that's
• 50:32
  Speaker 1: really scary. I think that just adds to the anticipation
• 50:36
  Speaker 1: and the not stress necessarily, but the almost anxiety of
• 50:41
  Speaker 1: what's happening to them because it's like they can't control this,
• 50:45
  Speaker 1: but do they want to? And the aliens put that there,
• 50:48
  Speaker 1: so now do they have a choice and answers? I
• 50:52
  Speaker 1: don't think they have a choice.
• 50:53
  Speaker 3: And I feel bad for the people that were obviously
• 50:56
  Speaker 3: called out to as well, who couldn't associate what they
• 50:59
  Speaker 3: were drawing with the Devil's Tower. You know, if they
• 51:03
  Speaker 3: if they missed that news cast about the Devil's Tower
• 51:06
  Speaker 3: being shut down and blah blah blah, those people are
• 51:08
  Speaker 3: still probably going crazy to this day. Do you know
• 51:11
  Speaker 3: or what do we feel about that? Oh?
• 51:13
  Speaker 1: No, I I wondered that too. But because they addressed
• 51:16
  Speaker 1: that in the movie, like you know, if they're all
• 51:19
  Speaker 1: drawing this, some of them just may not know what
• 51:22
  Speaker 1: this is or may not have seen it. And those
• 51:24
  Speaker 1: people aren't going to like how many more?
• 51:28
  Speaker 2: What is that?
• 51:30
  Speaker 3: Lawk is it?
• 51:32
  Speaker 1: Yeah?
• 51:34
  Speaker 3: That was a weird time. It sounded. That's like what
• 51:37
  Speaker 3: the ship sounds like in the movie with like that humming.
• 51:40
  Speaker 1: It's like I thought our garage was opening. I'm like,
• 51:42
  Speaker 1: who's opening the garage?
• 51:44
  Speaker 3: I thought we were going to the mother ship? You
• 51:46
  Speaker 3: know what I mean?
• 51:46
  Speaker 1: Really awkward. I don't want to go.
• 51:48
  Speaker 3: I want to go.
• 51:49
  Speaker 1: I do not want to go to space.
• 51:52
  Speaker 3: You wouldn't go to space if you got a like
• 51:54
  Speaker 3: a like a tour of the ship.
• 51:56
  Speaker 1: No, it's calling, Oh there it is. Yeah. Fun fact.
• 52:05
  Speaker 1: I actually the score to the back and forth song
• 52:10
  Speaker 1: that they have in that movie at the end. I
• 52:13
  Speaker 1: have the score for that.
• 52:15
  Speaker 3: It's so weird that lawnmower has never made a sound
• 52:19
  Speaker 3: like that, and it just sounds like the mothership hovering
• 52:22
  Speaker 3: over us. Yeah, I don't like that. Speaking of UFOs,
• 52:27
  Speaker 3: let's talk about some practical effects a what are you
• 52:29
  Speaker 3: about to play?
• 52:30
  Speaker 1: No saying I have that song on my phone?
• 52:34
  Speaker 3: All right, I believe you. Yeah, yeah, let's talk about
• 52:37
  Speaker 3: some practical effects here, because I mean, man, it's crazy
• 52:41
  Speaker 3: how this movie is forty nine years old and the
• 52:44
  Speaker 3: UFOs feel so real. Obviously they're they're not perfect. I mean,
• 52:50
  Speaker 3: i'd say the Mothership is pretty perfection, but the ones
• 52:52
  Speaker 3: that are flipping around and flying through the streets, they're not.
• 52:56
  Speaker 3: They still look great.
• 52:57
  Speaker 1: Oh no, they look great.
• 52:58
  Speaker 3: Don't get me wrong, they still look great. It's just
• 53:00
  Speaker 3: crazy how. I mean, that's what happens when you I mean,
• 53:04
  Speaker 3: they had to really do that with miniatures and super impositions,
• 53:10
  Speaker 3: so it's it just makes it look that much more real.
• 53:12
  Speaker 3: It holds up because it fits within the world of
• 53:15
  Speaker 3: what's going on in the movie, because it's super imposed
• 53:18
  Speaker 3: on the film.
• 53:19
  Speaker 1: Yeah, And I think I read something to the effect of,
• 53:23
  Speaker 1: you know, Steven Spielberg had his vision for what the
• 53:25
  Speaker 1: Mothership was going to look like, but it just wasn't
• 53:27
  Speaker 1: like coming together. It wasn't feasible, and he ended up
• 53:32
  Speaker 1: using being inspired by the like oil refineries in India
• 53:38
  Speaker 1: and how they have like those antennas with the lights
• 53:40
  Speaker 1: and stuffs and whatnot, and he used that as a
• 53:44
  Speaker 1: big inspiration. And I gotta say, like his mothership, his
• 53:47
  Speaker 1: ships are unique. Most people haven't recreated those a lot
• 53:53
  Speaker 1: of and you know, Alien has the same kind of thing,
• 53:56
  Speaker 1: a very unique ship. But nowadays, what you really get
• 53:59
  Speaker 1: is that really smooth, really beautiful and sleek design on ships,
• 54:05
  Speaker 1: and it just feels so impersonal. I think we talked
• 54:10
  Speaker 1: about how because.
• 54:11
  Speaker 3: It's all just digitally created. I mean, he was creating miniatures.
• 54:15
  Speaker 1: Yeah, and it's kind of ridiculous because ships that we
• 54:20
  Speaker 1: make aren't even like that in real life because all
• 54:23
  Speaker 1: those pieces are sourced out, so they all look kind
• 54:25
  Speaker 1: of different from each other. And like I think Hail Mary,
• 54:29
  Speaker 1: which we still need to see. Unfortunately, they put a
• 54:32
  Speaker 1: lot of effort into having those pieces fit together, so
• 54:35
  Speaker 1: it felt realistic. Like this feels otherworldly but familiar with
• 54:41
  Speaker 1: the ship designs, and you can see how this would
• 54:45
  Speaker 1: be something that for years people could have been saying, oh,
• 54:48
  Speaker 1: I saw this UFO over my house. This feels like
• 54:51
  Speaker 1: what you would they would have been seeing.
• 54:53
  Speaker 3: But I like that every spacecraft is different, so there's
• 54:59
  Speaker 3: not a repetitive one's like kind of cube shaped, one's triangular.
• 55:04
  Speaker 3: Then you have your classic saucer. Every single one of
• 55:07
  Speaker 3: them is different.
• 55:07
  Speaker 1: One looks like a spinning top.
• 55:09
  Speaker 3: Yeah, one looks like a spinning top, and you and
• 55:13
  Speaker 3: you're like, are these these gonna be the only ones
• 55:15
  Speaker 3: we get? And then the mother Ship shows up in
• 55:17
  Speaker 3: that cloud of you know, I have the trivia on
• 55:21
  Speaker 3: how they actually did that effect, and you're like, oh shit,
• 55:24
  Speaker 3: this is huge. And I think the reason it hits
• 55:31
  Speaker 3: so hard outside of the wonderful practical effects is because
• 55:33
  Speaker 3: they're using it at one of the coolest fucking backdrops
• 55:36
  Speaker 3: they could ever possibly use it at the Devil's Tower.
• 55:39
  Speaker 3: Are you kidding me? That was There's no other place
• 55:41
  Speaker 3: they could have done that at where it would have
• 55:43
  Speaker 3: hit the same. Y. I think that was the perfect
• 55:46
  Speaker 3: location because you have this massive structure like arising from
• 55:51
  Speaker 3: the earth with a massive UFO on top of it.
• 55:54
  Speaker 3: Ten out of ten.
• 55:55
  Speaker 1: Yeah, it's unusual. It's a unique feature like it it's
• 55:59
  Speaker 1: not a out necessarily, it's flat on top. It just
• 56:03
  Speaker 1: looks like it doesn't belong there.
• 56:05
  Speaker 3: Yeah, looks like it doesn't look like it should exist
• 56:07
  Speaker 3: in real life, but it does.
• 56:08
  Speaker 2: Yeah.
• 56:09
  Speaker 3: It's a real thing.
• 56:10
  Speaker 1: That's what makes it so interesting. It's extremely identifiable, and
• 56:13
  Speaker 1: it looks so unique, and it looks otherworldly, and that
• 56:18
  Speaker 1: it doesn't feel like it should be there at all.
• 56:20
  Speaker 3: Yeah, it's and it was such a good visual representation
• 56:24
  Speaker 3: because everyone is drawing that and obviously you're not going
• 56:28
  Speaker 3: to miss a giant thing like that in the ground.
• 56:31
  Speaker 3: So it's just it's instantly recognizable when you're like, that's
• 56:34
  Speaker 3: what we've been drawing, that's what we're here for. Now
• 56:36
  Speaker 3: you got to go find that. I really like that
• 56:39
  Speaker 3: they picked that because I think it really ties the
• 56:42
  Speaker 3: movie together. Plus it's a you know, obviously something you
• 56:45
  Speaker 3: could probably see from pretty high up when you're flying
• 56:47
  Speaker 3: a UFO. It's a landmark, I would say, So it
• 56:50
  Speaker 3: just makes sense from the alien and human perspective. It's
• 56:54
  Speaker 3: an instantly recognizable thing exactly, especially when I'm pretty sure
• 56:58
  Speaker 3: that's in a desert, right or I mean it's Wyoming.
• 57:02
  Speaker 3: It's just kind of a rural land. So and with
• 57:07
  Speaker 3: all that being said, I mean it's a great seventies film,
• 57:11
  Speaker 3: or it's not just a great seventies film. I feel
• 57:13
  Speaker 3: like it's foundational kind of it redefined alien encounters as
• 57:17
  Speaker 3: ambiguous in that hostile and it had this I wouldn't
• 57:21
  Speaker 3: say art house pacing, but it had this pain a
• 57:25
  Speaker 3: pacing that paid off. Yeah, from the mystery, from the
• 57:28
  Speaker 3: not knowing what was going on, to just a like
• 57:31
  Speaker 3: you got you get to see the aliens. Well, some
• 57:34
  Speaker 3: are a little wonky, that's okay. He clearly made up
• 57:36
  Speaker 3: for this an easy. Most of them were kids running
• 57:40
  Speaker 3: around in alien costumes for sure. The one really like
• 57:44
  Speaker 3: gangly one. He was cool. I liked him.
• 57:46
  Speaker 1: Yeah. My only thing is where his legs meet his
• 57:48
  Speaker 1: torso look like a like a rag doll where you
• 57:51
  Speaker 1: stitch the lines together, and that always distracts me.
• 57:53
  Speaker 3: It looks like he was being puppeted or something. Didn't
• 57:56
  Speaker 3: look like he was touching the ground. I don't know,
• 57:59
  Speaker 3: but uh uh. I think this one trusted his audience
• 58:03
  Speaker 3: is to sit with the uncertainty and just hold on
• 58:07
  Speaker 3: to that because we're gonna answer. It's just gonna take
• 58:09
  Speaker 3: a minute. Yeah, just hold on here. So I don't know.
• 58:13
  Speaker 3: It's definitely not like modern sci fi where that tends
• 58:17
  Speaker 3: to be over explained. It's something it does something the opposite.
• 58:19
  Speaker 3: You know, it withholds information and gives it to you
• 58:22
  Speaker 3: when at the necessary times. And then by the end
• 58:26
  Speaker 3: of it, I mean, that whole ending scene was so
• 58:27
  Speaker 3: much longer than I remembered it being. Yeah, and it
• 58:30
  Speaker 3: was really fun just watch all of those ships, and
• 58:34
  Speaker 3: uh that leads me back to Roy here, you know,
• 58:37
  Speaker 3: because I don't think he really wins. He just leaves.
• 58:40
  Speaker 3: It's a bold, almost uncomfortable ending, and uh, yeah, I
• 58:45
  Speaker 3: guess screw his family. Of course, the Jillian. I like
• 58:49
  Speaker 3: that she takes all those pictures of the UFO because
• 58:51
  Speaker 3: I would too, just like click click click click. Yeah.
• 58:57
  Speaker 3: So this is just such a I mean, the seventies
• 59:00
  Speaker 3: are such a great time, as I'm learning in my
• 59:04
  Speaker 3: exploration of the decade this year. Really the cult movie
• 59:07
  Speaker 3: challenge has just pushed me so far into the seventies.
• 59:11
  Speaker 3: I did not really even think I would be here,
• 59:14
  Speaker 3: but here we are. Because some other notable horror movies
• 59:17
  Speaker 3: from the seventies would be obviously The Exorcist, Texas, Chance
• 59:21
  Speaker 3: On Masker, Invasion of the Body Snatchers, and those were
• 59:25
  Speaker 3: bleak like this movie. But you know, obviously those movies
• 59:29
  Speaker 3: were a lot bleaker horror wise. Yeah, because you know,
• 59:34
  Speaker 3: this isn't necessarily a horror movie, but it still has
• 59:36
  Speaker 3: that kind of it's like not a happy ending. It
• 59:40
  Speaker 3: is for Jillian, but I don't I mean, and I
• 59:42
  Speaker 3: guess it is or for Roy, but as the third party,
• 59:47
  Speaker 3: I'm not happy with Freud's decision.
• 59:50
  Speaker 1: Yeah, but I think for realistically, when you're watching that movie,
• 59:53
  Speaker 1: is like, oh, he did it, he made it to
• 59:54
  Speaker 1: the ship, and then the movie ends.
• 59:56
  Speaker 3: That's it.
• 59:56
  Speaker 1: At the end, he's on the ship by.
• 59:58
  Speaker 3: And then it just right to the credits, right to
• 1:00:01
  Speaker 3: the credits.
• 1:00:02
  Speaker 1: So really you're supposed to be, like I think it's
• 1:00:05
  Speaker 1: supposed to be. You spend this entire time building up
• 1:00:08
  Speaker 1: to their getting there, heading to something, the whole this is,
• 1:00:12
  Speaker 1: this means something, This is important, the important thing happened.
• 1:00:15
  Speaker 1: We're done. Now bye, that's it. Yeah, you got there,
• 1:00:18
  Speaker 1: you got to the end. We don't need to see
• 1:00:21
  Speaker 1: what happened later. We don't need to know what happened
• 1:00:22
  Speaker 1: to his family. We didn't know. Everybody is just existing.
• 1:00:26
  Speaker 1: Roy's in space, he's gone, And I don't think you're
• 1:00:31
  Speaker 1: supposed to really think that much about what the hell
• 1:00:34
  Speaker 1: I guess happened with his family because at that point
• 1:00:37
  Speaker 1: they've left. Than they were, Yeah, and they spend so
• 1:00:42
  Speaker 1: much time away and he doesn't mention them once.
• 1:00:45
  Speaker 3: No, and he even has a little thing with Gillian.
• 1:00:48
  Speaker 1: Yeah, not only does he have a long ass hug
• 1:00:51
  Speaker 1: with her, but he kisses her later and like, Wow,
• 1:00:53
  Speaker 1: you just don't give a shit about your family.
• 1:00:55
  Speaker 3: And ron I think he's just happy to find someone
• 1:00:58
  Speaker 3: who understands, because I mean they I'm not agreeing with
• 1:01:01
  Speaker 3: it because you're still technically married, but I guess it
• 1:01:04
  Speaker 3: was just an overwhelming relief for him to be like,
• 1:01:07
  Speaker 3: finally someone who gets what's happening.
• 1:01:10
  Speaker 1: Which I do find to be hilarious because Ronnie is
• 1:01:12
  Speaker 1: definitely painted to be the nagging wife who is just
• 1:01:16
  Speaker 1: mannic and stuff. But I like, yeah, I'd probably be
• 1:01:18
  Speaker 1: losing my shit too if this is who I was
• 1:01:20
  Speaker 1: trying to raise my three kids with. And he's the
• 1:01:23
  Speaker 1: one who's supposed to have a job and he can't
• 1:01:25
  Speaker 1: keep a job right now, and he is he was
• 1:01:29
  Speaker 1: already edgy to begin with and now he's crazy and edgy.
• 1:01:33
  Speaker 1: Uh yeah, I'd be a little manic myself. And she's
• 1:01:38
  Speaker 1: supposed to be the because I remember the first time
• 1:01:40
  Speaker 1: I watched it's like, well, she just doesn't get him.
• 1:01:43
  Speaker 1: She just doesn't understand and how I'm like, no, she's
• 1:01:47
  Speaker 1: extremely justified, and Roy is the problem. Now the aliens
• 1:01:51
  Speaker 1: weren't helping, but Roy was already the problem.
• 1:01:54
  Speaker 3: I'm not going to get into this with you.
• 1:01:56
  Speaker 1: Why.
• 1:01:57
  Speaker 3: I just think she I agree, she's valid for leaving
• 1:02:00
  Speaker 3: and stuff like that, but I don't. I don't like
• 1:02:02
  Speaker 3: the way she approached it by just screaming every time,
• 1:02:05
  Speaker 3: because she's not doing any she's not setting a better
• 1:02:09
  Speaker 3: example for her kids by screaming and yelling and throwing
• 1:02:12
  Speaker 3: shit at him.
• 1:02:13
  Speaker 1: Well, yeah, if you watched earlier in the film, she
• 1:02:16
  Speaker 1: was trying to be really calm and chill about it.
• 1:02:18
  Speaker 1: She even says, aren't I doing a good I think
• 1:02:21
  Speaker 1: I'm doing a pretty good job handling this right now.
• 1:02:24
  Speaker 1: And then weeks go by and he's still doing this,
• 1:02:26
  Speaker 1: except he's amping it up and it's upsetting the kids,
• 1:02:31
  Speaker 1: and he's still going like, at this point, his son's
• 1:02:33
  Speaker 1: already cried right in front of him about how scared
• 1:02:36
  Speaker 1: he is, and now he's just whipping bushes into the
• 1:02:39
  Speaker 1: kitchen window. Like at that point, I'd be like, I
• 1:02:42
  Speaker 1: don't know why I'm trying so hard to hold this together.
• 1:02:44
  Speaker 1: You clearly don't care. So yeah, I guess I.
• 1:02:48
  Speaker 3: Wasn't in the position of having aliens infest my brain.
• 1:02:51
  Speaker 1: So you know, it doesn't happen to everybody. But you know,
• 1:02:56
  Speaker 1: I think she is. I think it's funny how first
• 1:02:58
  Speaker 1: time I watched this, I was like, Wow, she is
• 1:03:00
  Speaker 1: the worst, and now I'm just like m I could
• 1:03:02
  Speaker 1: see how she'd be like at the end of her
• 1:03:04
  Speaker 1: rope at this point.
• 1:03:06
  Speaker 3: Oh yeah. I mean I would have left too. I
• 1:03:09
  Speaker 3: would have left too. I think I go back to
• 1:03:12
  Speaker 3: Oh yeah, but I brought up those movies a second
• 1:03:15
  Speaker 3: ago because the Exorcist feels like a loss of control
• 1:03:18
  Speaker 3: text change that master obviously raw brutality, invasion of the
• 1:03:21
  Speaker 3: body snatchers is paranoia and loss of identity. So where
• 1:03:25
  Speaker 3: does Close Encounters fit in? I feel like it does
• 1:03:28
  Speaker 3: feel fit kind of right in the middle. It shares
• 1:03:30
  Speaker 3: the same DNA in a sense, like loss of autonomy,
• 1:03:33
  Speaker 3: fear of the unknown, transformation the familiar. It's just it's
• 1:03:37
  Speaker 3: like horror without calling itself horror. Yes, And that's why
• 1:03:41
  Speaker 3: I was like, I'll let this one slide, because it's
• 1:03:43
  Speaker 3: it's subtle horror. It's not in your face visceral grotesque horror.
• 1:03:49
  Speaker 3: It's like this lingering fear of what the fuck is happening? Yeah,
• 1:03:53
  Speaker 3: which is very prevalent in today's horror.
• 1:03:56
  Speaker 1: So yeah, I get that.
• 1:03:58
  Speaker 3: I think that's all I have. I do have an
• 1:03:59
  Speaker 3: up date, though, from your girlfriend Nikki. She just sent
• 1:04:04
  Speaker 3: another audio message here, So let's see what this one
• 1:04:07
  Speaker 3: has to say.
• 1:04:09
  Speaker 2: I'll be waiting for you on May fifteen.
• 1:04:14
  Speaker 1: Oh, that's probably fine.
• 1:04:18
  Speaker 3: And she just sent me a whole bunch of heart faces. Okay,
• 1:04:23
  Speaker 3: what's May fifteenth? Yeah?
• 1:04:25
  Speaker 1: See, I don't know what is May fifteenth.
• 1:04:27
  Speaker 3: I don't know. Help me, god, Okay. Anyways, unless you
• 1:04:36
  Speaker 3: have any of their thoughts, closing arguments, concerns, questions, noep.
• 1:04:40
  Speaker 3: All right, so that is close encounters of the third kind.
• 1:04:44
  Speaker 3: Let's roll into the final cut. One tagline, fucking lame.
• 1:04:50
  Speaker 3: We're not alone.
• 1:04:51
  Speaker 1: Okay, No, we are not alone. Now, we're not alone.
• 1:04:56
  Speaker 3: Whatever, we're not alone, we are not alone.
• 1:04:59
  Speaker 1: It's it has a different impact, a different emphasis. We're
• 1:05:03
  Speaker 1: not alone is just a flippant sentence, we are not alone.
• 1:05:06
  Speaker 3: The wrong emphastist on the wrong salable.
• 1:05:08
  Speaker 1: You're merging words together.
• 1:05:11
  Speaker 3: We are is the same thing as weird.
• 1:05:13
  Speaker 1: Yes, but it has a different It has a different
• 1:05:16
  Speaker 1: or a tone to it.
• 1:05:17
  Speaker 3: Fucking English teacher over here.
• 1:05:18
  Speaker 1: Not an English teacher. I'm just saying. They have one tagline.
• 1:05:21
  Speaker 3: See it the right way you want to read the tagline.
• 1:05:23
  Speaker 3: We are not alone anyways, Trivia. During the neary dinner scene,
• 1:05:28
  Speaker 3: just before Roy piles on the mash potatoes, a little girl,
• 1:05:31
  Speaker 3: Sylvia says, there's a dead fly in my potatoes. This
• 1:05:34
  Speaker 3: was unscripted and almost caused the rest of the cast
• 1:05:37
  Speaker 3: to laugh. The scene was kept as is beautiful ten
• 1:05:41
  Speaker 3: out of ten. The film is shown every night, apparently
• 1:05:44
  Speaker 3: at the Devil's Tower, Koa campground, thereby making it one
• 1:05:47
  Speaker 3: of the most screened movies ever. I couldn't imagine working there.
• 1:05:50
  Speaker 3: I think I would claw my eyes out, Like I
• 1:05:53
  Speaker 3: love this movie, but every night, that's a lot. Douglas
• 1:05:56
  Speaker 3: Trumbull achieved the dramatic cloud effects by feeling a tank
• 1:05:59
  Speaker 3: full of salt half full of salt water with lighter
• 1:06:02
  Speaker 3: freshwater on top, than injecting paint into the top layer.
• 1:06:06
  Speaker 3: The paint billowed through the fresh water but flattened out
• 1:06:09
  Speaker 3: at the top of the heavier saltwater, creating the effect
• 1:06:12
  Speaker 3: we see on screen. I just want to know how
• 1:06:15
  Speaker 3: they got to figuring that out, Like, who figured that out?
• 1:06:19
  Speaker 1: People whose jobs it is to only do wacky shit.
• 1:06:22
  Speaker 3: I guess someone figured it out. That John Williams score
• 1:06:25
  Speaker 3: was created before the film was edited, and Spielberg had
• 1:06:28
  Speaker 3: to edit the film to match the music, a reverse
• 1:06:30
  Speaker 3: of what is usually done in the film scoring process.
• 1:06:33
  Speaker 3: Both Spielberg and Williams felt that it ultimately gave the
• 1:06:36
  Speaker 3: film a lyrical feel.
• 1:06:38
  Speaker 1: Yeah, I think it gave it a definitely unique quality
• 1:06:41
  Speaker 1: that I appreciate that.
• 1:06:43
  Speaker 3: Yeah, short, But yeah, that's strange if someone's like, here's
• 1:06:47
  Speaker 3: the music for the film, and I'm like, I haven't
• 1:06:48
  Speaker 3: edited the film. Ah, you're good. I guess it's John Williams.
• 1:06:51
  Speaker 3: I trust you. Carrie Guffy's Barry Geiler performances were so
• 1:06:56
  Speaker 3: good that they only needed to do one or two
• 1:06:59
  Speaker 3: takes of each shot he was in. He became known
• 1:07:01
  Speaker 3: as one tape carry on the set, and director Steven
• 1:07:04
  Speaker 3: Spielberg had a t shirt printed up for him with
• 1:07:06
  Speaker 3: the phrase written on it.
• 1:07:07
  Speaker 1: That's great. But did you have the trivia for how
• 1:07:11
  Speaker 1: they got him to react?
• 1:07:12
  Speaker 3: No, I said you were gonna say add one more though,
• 1:07:14
  Speaker 3: hang on, we got one more that you can go.
• 1:07:17
  Speaker 1: It was relevant? My bad?
• 1:07:18
  Speaker 3: Uh, then fine, go ahead. Uh.
• 1:07:20
  Speaker 1: So what they did to get him to react to
• 1:07:22
  Speaker 1: things off camera because clearly there was nothing there is.
• 1:07:25
  Speaker 1: They had wrapped gifts for him and they would slowly
• 1:07:29
  Speaker 1: unwrap them off camera to get him to react excited
• 1:07:34
  Speaker 1: and surprised. That's why in one scene when he's looking
• 1:07:36
  Speaker 1: out the screen window and he says toys, toys, because
• 1:07:39
  Speaker 1: Steven Spielberg pulled a toy out from behind his back
• 1:07:42
  Speaker 1: and was holding it in front of him, so it says,
• 1:07:46
  Speaker 1: where you have the whole Danny Torrents and the shining,
• 1:07:48
  Speaker 1: He was just reacting to nothing. Yeah, they were like,
• 1:07:52
  Speaker 1: we're gonna give this kid presence.
• 1:07:55
  Speaker 3: And that's funny because uh wanted this kid for the shining,
• 1:08:02
  Speaker 3: but the scheduling conflicts per prohibited that, I almost say
• 1:08:07
  Speaker 3: permitted that. Steven Spielberg ran a few tests of computer
• 1:08:10
  Speaker 3: generated imagery, now the industry standard, but then in its
• 1:08:13
  Speaker 3: very first stages of development, he decided none of it
• 1:08:16
  Speaker 3: looked believable. Thank you, Steven Spielberg.
• 1:08:18
  Speaker 1: Thanks Steven Spielberg.
• 1:08:19
  Speaker 3: All right, here's some silly goofs the pickup truck that
• 1:08:22
  Speaker 3: Roy drove for his work front has a front license plate.
• 1:08:24
  Speaker 3: Vehicles in Indiana are only issued one license plate. When
• 1:08:28
  Speaker 3: the mothership appears above the mountain at the end, it
• 1:08:30
  Speaker 3: casts a shadow over those staring up at it, even
• 1:08:32
  Speaker 3: though it must surely be above the light source, which
• 1:08:35
  Speaker 3: it is. When the nineteen forties era abducted military personnel
• 1:08:39
  Speaker 3: are coming off the mothership, they have nineteen seventies style
• 1:08:42
  Speaker 3: haircuts and sideburns.
• 1:08:44
  Speaker 1: That's amazing.
• 1:08:46
  Speaker 3: The scene where the Munsey police cars are chasing the
• 1:08:48
  Speaker 3: UFO shows them driving in mountains and through tunnels and
• 1:08:51
  Speaker 3: crossed the state into Ohio. Munsey has no mountains, no tunnels,
• 1:08:55
  Speaker 3: and it is not that close to Ohio. There's another
• 1:08:59
  Speaker 3: county in between Monthly in the Ohio state line. The
• 1:09:01
  Speaker 3: Indiana tool Road is about one hundred miles north of Monthly,
• 1:09:04
  Speaker 3: paralleling the state of Michigan. And during the ABC newscast,
• 1:09:08
  Speaker 3: or reporter states that the Devil's Tower National Monument was
• 1:09:11
  Speaker 3: created by Theodore Roosevelt in nineteen fifteen. Roosevelt was president
• 1:09:15
  Speaker 3: from nineteen oh one to nineteen oh nine, and the
• 1:09:17
  Speaker 3: monument was created in nineteen oh six. They also said
• 1:09:20
  Speaker 3: that he erected this in nineteen oh six, and I'm like,
• 1:09:23
  Speaker 3: what did he make this?
• 1:09:25
  Speaker 1: He built it himself, doesn't make any fucking sun best
• 1:09:27
  Speaker 1: craft project ever.
• 1:09:29
  Speaker 3: So rated seven point six out of ten on IMDb
• 1:09:32
  Speaker 3: for our purposes in the nightmare index, that's a three
• 1:09:35
  Speaker 3: point eight out of five. Also has a three point
• 1:09:37
  Speaker 3: eight out of five on the letterbox, ninety one percent
• 1:09:39
  Speaker 3: on the Tomato meter, and an eighty five percent audience score.
• 1:09:42
  Speaker 3: What did you give this four and a half four
• 1:09:44
  Speaker 3: and a half? I gave it a four and a half.
• 1:09:46
  Speaker 3: So this is a freightmer certified slap and that gives
• 1:09:51
  Speaker 3: us a nightmare index of four point one five. I
• 1:09:56
  Speaker 3: believe that is I didn't I didn't put the thing here.
• 1:10:00
  Speaker 3: They usually do that four point one five. I think
• 1:10:03
  Speaker 3: that's okay. Trained to Bissan has a four point two zero.
• 1:10:07
  Speaker 3: House has a four point four zero, and I think
• 1:10:09
  Speaker 3: this should be number third. I think the number third,
• 1:10:12
  Speaker 3: and I think this is number third. If it is,
• 1:10:14
  Speaker 3: that's amazing. Close encounters to the third kind.
• 1:10:16
  Speaker 1: Congratulations, you did great.
• 1:10:18
  Speaker 3: Nailed it. Similar movies. According to IMDb, we have dual
• 1:10:22
  Speaker 3: contact AI artificial intelligence. The color purple randomly and The
• 1:10:26
  Speaker 3: Abyss similar movies. According to Letterbix, we have a rival
• 1:10:30
  Speaker 3: signs Et, War of the World and Super Eight.
• 1:10:34
  Speaker 1: Spielberg directed The Color Purple. That's Why That's there, also
• 1:10:37
  Speaker 1: an excellent movie. Also sad but also hopeful.
• 1:10:41
  Speaker 3: He didn't direct The Abyss. That was James Cameron.
• 1:10:44
  Speaker 1: No, but that's an alien movie.
• 1:10:45
  Speaker 3: M fair funny reviews.
• 1:10:47
  Speaker 1: Oh yeah, that's you. Sorry. I was waiting for you
• 1:10:50
  Speaker 1: to say something funny reviews.
• 1:10:52
  Speaker 3: I got three, you got three?
• 1:10:54
  Speaker 1: How many you got?
• 1:10:55
  Speaker 3: I think I have four? Oh? I have no? Yeah,
• 1:11:00
  Speaker 3: just go first. So three stars from Mad Mad That
• 1:11:07
  Speaker 3: alien looked fucking stupid.
• 1:11:13
  Speaker 1: Five stars from the Homeless rock star. For decades, wives
• 1:11:17
  Speaker 1: have lost their husbands to conspiracies.
• 1:11:21
  Speaker 3: Not wrong, Let's see where to go. Four stars from James.
• 1:11:28
  Speaker 3: I'm not reading that last name. It's impossible. Oh so
• 1:11:32
  Speaker 3: that's where the scene in Monsters Versus Aliens came from. Jesus.
• 1:11:37
  Speaker 1: Five stars from Robert Daniels. I want to know the
• 1:11:42
  Speaker 1: qualifications of the keyboard player and close Encounters of the
• 1:11:45
  Speaker 1: third kind. He was sweating like he lied on his resume.
• 1:11:48
  Speaker 3: Yeah he really was. That bro was nervous, but I
• 1:11:51
  Speaker 3: think it was primarily because he was in charge of
• 1:11:53
  Speaker 3: communicating and he didn't want to get everybody killed. Five
• 1:11:56
  Speaker 3: stars from Layered, a movie about the importance of leaving
• 1:11:59
  Speaker 3: your wife kids in order to pursue your passion to
• 1:12:02
  Speaker 3: fly on a UFO.
• 1:12:04
  Speaker 1: Four stars from Preete abandoning the family to be accepted
• 1:12:08
  Speaker 1: by the alien race.
• 1:12:12
  Speaker 3: No stars but a Heart from Eddie Burback. God Forbid.
• 1:12:16
  Speaker 3: A guy scares his friends and family by worshiping a
• 1:12:19
  Speaker 3: big rock.
• 1:12:20
  Speaker 1: Yeah jeez.
• 1:12:22
  Speaker 3: Oh okay. So if you enjoy the show, please rate
• 1:12:26
  Speaker 3: and review on your favorite podcast app of choice. Follow
• 1:12:28
  Speaker 3: us on Facebook, Instagram, TikTok, slasher threads, and YouTube at
• 1:12:32
  Speaker 3: Frightmares Podcast. Our email is Stayspooky at outlook dot com.
• 1:12:37
  Speaker 3: You can also follow me personally on Letterbox that Doctor
• 1:12:39
  Speaker 3: Procter All one.
• 1:12:40
  Speaker 1: Word you Are, Watson L and p ninety boo.
• 1:12:44
  Speaker 3: Yeah. If you'd like to expand your movie podcast listening,
• 1:12:47
  Speaker 3: be sure to check out The Shameless Picture Show, The
• 1:12:50
  Speaker 3: Dead Eyed Millennial Film Club, and One Week Rental, as
• 1:12:53
  Speaker 3: well also the vast library of Someone's favorite productions. Next week,
• 1:12:58
  Speaker 3: Derek and I will be doing The Puppet Masters. The
• 1:13:02
  Speaker 3: puppet Masters.
• 1:13:03
  Speaker 1: It's like a different thing.
• 1:13:03
  Speaker 3: Yeah, Okay, it's a different thing from puppet Master.
• 1:13:06
  Speaker 1: Okay, because I was like, what.
• 1:13:09
  Speaker 3: From nineteen ninety four are as our deep cut pick
• 1:13:12
  Speaker 3: starring Donald Sutherland. So do not confuse it for the
• 1:13:15
  Speaker 3: full moon feature of puppet Master. Okay, the puppet Masters.
• 1:13:20
  Speaker 3: It is streaming on Prime for a three ninety nine rental.
• 1:13:23
  Speaker 3: That is what we're doing. And yeah, until then, stay
• 1:13:27
  Speaker 3: tuned and stay spooky.
• 1:14:05
  Speaker 1: Thank you for listening. To hear more shows from the
• 1:14:08
  Speaker 1: Someone's Favorite Productions podcast network. Please select the link in
• 1:14:12
  Speaker 1: the description