Latest / Houselights: A Film Director Podcast / Titan AE (2000) - Don Bluth | Houselights #210

Transcript

Titan AE (2000) - Don Bluth | Houselights #210 · Houselights: A Film Director Podcast

• 0:03
  Speaker 1: Welcome to the nerd Party.
• 0:20
  Speaker 2: Welcome back to House Lights, our director discussion show here
• 0:23
  Speaker 2: on the nerd Party Network. This week we're finishing the
• 0:26
  Speaker 2: house of animation director Don Bluth with his two thousand
• 0:30
  Speaker 2: picture Titan Ae. I'm Darren Moser, also known as Titan
• 0:36
  Speaker 2: Research Scientist Number five, and I'm joined again by my
• 0:40
  Speaker 2: friends Captain John not An, Alien Mills and from the
• 0:44
  Speaker 2: Dredge Energy Engineer Union Tristan Reverse the Polarity Riddell. Wow. Now,
• 0:49
  Speaker 2: part of this podcast will be broadcast in two dimensions
• 0:52
  Speaker 2: projected onto the third dimensional recording, and we're going to
• 0:56
  Speaker 2: talk about this last hurrah here in Titan Ae, the
• 1:00
  Speaker 2: last animated feature film of Don Bluth to Dan to date,
• 1:05
  Speaker 2: I mean, okay, guys, yeah, we could say to date,
• 1:07
  Speaker 2: but I mean.
• 1:10
  Speaker 1: He's not dead yet.
• 1:12
  Speaker 2: He's still I'm not putting the nail on the coffin.
• 1:14
  Speaker 2: I'm just saying, it's like it's been twenty four years,
• 1:19
  Speaker 2: so we're not on a good streak.
• 1:22
  Speaker 1: It's been a minute minute.
• 1:26
  Speaker 2: But yes, but this movie I was looking forward to
• 1:29
  Speaker 2: talking about. I remember seeing this in theaters. I remember
• 1:33
  Speaker 2: being excited by the trailer. I don't think there were
• 1:36
  Speaker 2: a lot of people in the theater with me in
• 1:38
  Speaker 2: June two thousand.
• 1:40
  Speaker 3: I think that was the in most theaters.
• 1:43
  Speaker 2: Yeah, but but no, I remember enjoying this overall. And
• 1:49
  Speaker 2: I mean, we'll get into the story and the technical
• 1:51
  Speaker 2: aspects and things like that, but this was both of
• 1:54
  Speaker 2: you first time visiting Planet Bob, so we haven't done
• 1:59
  Speaker 2: this in a little while. So Tristan, what did you
• 2:02
  Speaker 2: know about this movie? Did you know what AE stood for?
• 2:08
  Speaker 2: Were you looking forward to this as we were working
• 2:10
  Speaker 2: through the House of Blue, like Tell Your Tale?
• 2:13
  Speaker 3: Yeah, I was looking forward to this because, as you
• 2:17
  Speaker 3: guys know, and as you know, like, I'm a big
• 2:19
  Speaker 3: sci fi fan just like you guys are, and I
• 2:21
  Speaker 3: was interested to see this type of animation in the
• 2:26
  Speaker 3: year two thousand and boy was this movie the year
• 2:29
  Speaker 3: two thousand two. I did not know what AE stood for,
• 2:34
  Speaker 3: but I could guess. My main memory of this movie
• 2:37
  Speaker 3: is seeing the trailer, and I remember seeing it come
• 2:41
  Speaker 3: out in ninety nine when I was a wee lad,
• 2:44
  Speaker 3: a teenager, and I remember seeing the Earth explode and
• 2:49
  Speaker 3: commenting to my dad saying, like, oh, I kind of hurt,
• 2:53
  Speaker 3: Like it was weird, like seeing the Earth explode. It
• 2:56
  Speaker 3: was genuinely weird. Seeing that. I was like, oh, oh
• 2:59
  Speaker 3: that sucks, like like we didn't just not I didn't
• 3:04
  Speaker 3: just leave. Yeah, like I live there, like that's my home.
• 3:07
  Speaker 3: Like not only did we not just leave or did
• 3:09
  Speaker 3: we kill the planet? It's like nope, it's gone, Like
• 3:12
  Speaker 3: it can't even recover from the ozone damage. Nothing that
• 3:15
  Speaker 3: it's gone. But I remember, like there was a lot
• 3:19
  Speaker 3: of celebrity voices in this in this movie, and this
• 3:23
  Speaker 3: was this was kind of around I mean, it's been
• 3:26
  Speaker 3: going on for a while, but this was a big
• 3:29
  Speaker 3: turning point where this was this was the point of
• 3:31
  Speaker 3: no return of non celebrity voices for animated films.
• 3:36
  Speaker 2: I think my majority of the cast are not necessarily
• 3:39
  Speaker 2: names to get you in the seat.
• 3:41
  Speaker 3: Right, And I could be completely wrong. I'm saying from
• 3:45
  Speaker 3: my own perspective, and that's really all that I knew
• 3:48
  Speaker 3: about it. Like I remembered the Bob joke, so I
• 3:51
  Speaker 3: must have caught it on TV or something, because it
• 3:53
  Speaker 3: didn't I mean, what a weird note to end on,
• 3:56
  Speaker 3: But like I must have caught it on TV or
• 3:58
  Speaker 3: something like that, or like seen bits and pieces, But
• 4:00
  Speaker 3: this was my first time seeing it from start to finish.
• 4:03
  Speaker 2: All right, John, same question, What did you know about this?
• 4:07
  Speaker 2: Did you remember seeing a poster for it in two
• 4:10
  Speaker 2: thousand and you're like, Eh, it's not Batman, so I'm
• 4:12
  Speaker 2: going to pass.
• 4:14
  Speaker 4: Now in the year Yeah, you can't say it unless
• 4:18
  Speaker 4: you say it the way they did on Conan o'bron.
• 4:20
  Speaker 2: In the year two.
• 4:22
  Speaker 4: I remember seeing the trailer because it was by contract
• 4:28
  Speaker 4: put on the front of The Phantom Menace and so
• 4:32
  Speaker 4: it was fight Club, Anna and the King in this,
• 4:35
  Speaker 4: and I remember, of the three, fight Club was the
• 4:39
  Speaker 4: only one where I was like, Oh, that looks kind
• 4:40
  Speaker 4: of cool. And Anna and the King, I was like, yeah,
• 4:42
  Speaker 4: I'd seen the King and I that's fine.
• 4:43
  Speaker 1: This one.
• 4:44
  Speaker 4: My reaction was, oh, that looks neat. And I just
• 4:48
  Speaker 4: never really got around to it sort of thing.
• 4:51
  Speaker 1: It was.
• 4:52
  Speaker 4: I think it was pretty much out of theaters faster
• 4:54
  Speaker 4: than I could get to it.
• 4:57
  Speaker 2: I don't think this stuck around very long.
• 4:59
  Speaker 4: Yeah, And it was you know, it was a different
• 5:01
  Speaker 4: time for me in two thousands, but I was working
• 5:05
  Speaker 4: I think two jobs at the time, and so you know,
• 5:09
  Speaker 4: free time was sparse at best, and so yeah, I
• 5:13
  Speaker 4: never got around to it. And it's just one of
• 5:15
  Speaker 4: those ones where it's always been sort of floating in
• 5:17
  Speaker 4: the back of my brain is you know, that's kind
• 5:19
  Speaker 4: of interesting. And I knew it was a space thing,
• 5:21
  Speaker 4: and you know, like I I pieced together the AE
• 5:25
  Speaker 4: part because the website back then was like after Earth
• 5:28
  Speaker 4: dot Com. I was like, oh, that must be what
• 5:30
  Speaker 4: AE is, okay, and like, I didn't remember the celebrity
• 5:36
  Speaker 4: voices until I turned this on and I was like, oh,
• 5:39
  Speaker 4: that's right, Matt Damon did this. This is back when
• 5:43
  Speaker 4: Matt Damon was still affordable celebrity Matt Damon and not
• 5:46
  Speaker 4: global superstar Matt Damon, like he was still on the
• 5:49
  Speaker 4: ascent as opposed.
• 5:51
  Speaker 3: To preborn I preborn, Yeah.
• 5:53
  Speaker 1: Yeah, that sort of thing.
• 5:54
  Speaker 4: But I was I was delightfully surprised to hear a
• 5:58
  Speaker 4: voice like Nathan Lane coming up. Was like, oh, that's
• 6:00
  Speaker 4: Nathan Lane and Bill Pullman Bill Polman. But the real
• 6:04
  Speaker 4: surprise for me was hearing tone Loke because as soon
• 6:06
  Speaker 4: as tone Loake speaks, You're like, oh, it's Tone Loke
• 6:09
  Speaker 4: and I was like, oh, that's cute. So but yeah,
• 6:11
  Speaker 4: all I knew was it was animated. It was from
• 6:13
  Speaker 4: Don Bluth, and I saw the trailer way back when
• 6:16
  Speaker 4: in nineteen ninety nine.
• 6:17
  Speaker 1: Awesome.
• 6:18
  Speaker 2: Yeah, so this this movie again, I have to give
• 6:22
  Speaker 2: it to Don Bluth for pushing the animation style. Like
• 6:29
  Speaker 2: I think the biggest thing about this movie is the
• 6:32
  Speaker 2: use of the mesh of CG backgrounds with two D
• 6:36
  Speaker 2: animation in the front. Some shots really effectively. Some shots
• 6:41
  Speaker 2: it feels like you're kind of like these are penciled
• 6:45
  Speaker 2: in animatics over the CG and then we'll put in
• 6:48
  Speaker 2: the CG later it's like, oh no, no, that's the
• 6:50
  Speaker 2: actual shot. But you know, from the ships to the dredge,
• 6:54
  Speaker 2: the main villain are all CG and you know in
• 6:58
  Speaker 2: an age now where we have I don't know, it
• 7:01
  Speaker 2: always makes you think of like The Simpsons or a
• 7:04
  Speaker 2: lot of traditional animation nowadays have very seamless CG for
• 7:08
  Speaker 2: like cars or boxy objects that have to rotate where
• 7:12
  Speaker 2: they will make it look two D but it is
• 7:16
  Speaker 2: faceted like a three D object.
• 7:18
  Speaker 3: Fu Drauma did it around this time very well.
• 7:21
  Speaker 2: Yes, you're right, but stuck but stuck more to that
• 7:25
  Speaker 2: two D look like the paint palette, whereas this like
• 7:28
  Speaker 2: you're looking at the background of the ship inside and
• 7:31
  Speaker 2: you're like It feels like those click video games, you know,
• 7:35
  Speaker 2: where everything would be a static image and you'd click
• 7:38
  Speaker 2: on the door and then it would like you'd move
• 7:40
  Speaker 2: to the other room. It really felt like that level
• 7:43
  Speaker 2: of I mean, it's two thousand. I'm not complaining. I'm like,
• 7:45
  Speaker 2: that's just.
• 7:46
  Speaker 3: What it was.
• 7:47
  Speaker 2: But but yeah, what did what did you guys think
• 7:50
  Speaker 2: of that look? Did it jive? Did it pull you
• 7:53
  Speaker 2: out of it? Or was it like that's a really
• 7:57
  Speaker 2: cool way to tell a space story.
• 7:59
  Speaker 4: I mean, I think I thought it was. It's bold
• 8:01
  Speaker 4: for its time. It's very obviously for its time. They
• 8:06
  Speaker 4: went for the brass ring, and I don't know if
• 8:09
  Speaker 4: it's a mix of it just wasn't ready for this
• 8:14
  Speaker 4: scale and or the team wasn't ready for this tool
• 8:21
  Speaker 4: in some ways. And I say that specifically because there
• 8:25
  Speaker 4: was better computer animation out there at the time. I
• 8:30
  Speaker 4: think that the scale gets away from the team because
• 8:34
  Speaker 4: this is a team very obviously who's blending the two,
• 8:38
  Speaker 4: but it's a team that comes from a much more
• 8:40
  Speaker 4: hand drawn tradition, and so they're sort of throwing a
• 8:44
  Speaker 4: very big challenge for themselves. It feels in a sense
• 8:49
  Speaker 4: that it's very much like something where it would have
• 8:51
  Speaker 4: benefited from some sort of different collaborative approach or something
• 8:57
  Speaker 4: like that, because it feels too much at certain points,
• 9:00
  Speaker 4: or looks too much. I should say, I can't feel anything,
• 9:02
  Speaker 4: but like it looks too much like that one team
• 9:07
  Speaker 4: did the CG and one team did the drawing, and
• 9:12
  Speaker 4: they were from two different schools, And it's like, if
• 9:14
  Speaker 4: you're gonna do this, everything should be as consistent as possible,
• 9:19
  Speaker 4: and that I think is its biggest tripping point.
• 9:23
  Speaker 3: That's a really, really solid point.
• 9:26
  Speaker 1: You know.
• 9:26
  Speaker 3: I didn't even really think about that on a conscious level,
• 9:29
  Speaker 3: but subconsciously that's exactly how I was feeling. It was
• 9:33
  Speaker 3: it felt like two different people were attacking the same scene,
• 9:38
  Speaker 3: and that that's hard. It's really rough because you know,
• 9:42
  Speaker 3: I was reading up on some of the behind the
• 9:44
  Speaker 3: scenes stuff and apparently him and his co director had
• 9:49
  Speaker 3: to get this done from scratch in nineteen months. How
• 9:54
  Speaker 3: do you pull that off?
• 9:55
  Speaker 2: I don't.
• 9:56
  Speaker 3: I mean, I think bravo for even making this a
• 9:58
  Speaker 3: coherent storyline and not a complete mess of a movie. Now. Granted,
• 10:03
  Speaker 3: I mean nobody went and saw it and it had
• 10:05
  Speaker 3: a Fox got fired because of this movie. But regardless,
• 10:10
  Speaker 3: I mean, there were thirty million in the hole, they
• 10:11
  Speaker 3: fired the director and they started from scratch, got it
• 10:14
  Speaker 3: done in nineteen months, I mean, and got a serviceable product.
• 10:17
  Speaker 3: I mean, so I think whatever box office failure is there,
• 10:21
  Speaker 3: I don't think you can lay this on Blue's feet Personally.
• 10:26
  Speaker 3: I could be wrong, but I feel like that gives
• 10:29
  Speaker 3: I mean, I feel like he's kind of a victim
• 10:30
  Speaker 3: of circumstance but still really pushed the envelope.
• 10:33
  Speaker 4: You know, there's one part I'm going to push back
• 10:36
  Speaker 4: on that is that and push back lightly is yes,
• 10:41
  Speaker 4: I see what you're saying with Bluth being a victim
• 10:43
  Speaker 4: of circumstance, but I think that through this entire house
• 10:46
  Speaker 4: of Bluth, we've seen somebody who can be a little
• 10:48
  Speaker 4: bit intransigent with.
• 10:50
  Speaker 1: The brass as it were.
• 10:52
  Speaker 4: And I'm not saying I have absolutely I'm not saying
• 10:55
  Speaker 4: anything against Bluth here. I'm not saying that this is
• 10:58
  Speaker 4: the case at all, but I think it's entirely possible
• 11:01
  Speaker 4: that there wasn't clear communication between the people who were
• 11:05
  Speaker 4: funding the thing and Bluth in terms of who like.
• 11:10
  Speaker 4: The best way I can say it is, it's what
• 11:13
  Speaker 4: I'm hearing I process in my brain as this sounds
• 11:16
  Speaker 4: like expectations were not the same on both sides of
• 11:18
  Speaker 4: that conversation, and that probably leads to some communication difficulties.
• 11:24
  Speaker 4: Now again to your point getting this turned around in
• 11:27
  Speaker 4: the time that it was absolutely but that also, I mean,
• 11:33
  Speaker 4: it's really difficult because we're not there in the room
• 11:38
  Speaker 4: and the tiny little thing that really needs to be
• 11:41
  Speaker 4: tacked on to that is really going for the brass Ring.
• 11:44
  Speaker 4: It's the first movie to do and and digital screening,
• 11:50
  Speaker 4: and it's like that's a huge technological leap right there.
• 11:54
  Speaker 4: And it's like, to me, maybe the problem is actually
• 11:57
  Speaker 4: all on the Fox side, because nobody clearly communicated this
• 12:00
  Speaker 4: is a lost leader, guys, this is us being innovativeloping.
• 12:04
  Speaker 2: The technology for the next set of animated films, right
• 12:09
  Speaker 2: that area go to be this new style, this new workflow.
• 12:13
  Speaker 2: I think they even for the first screening they streamed
• 12:16
  Speaker 2: it from their server like it never touched film, which
• 12:20
  Speaker 2: which again this is right around.
• 12:22
  Speaker 3: Yeah, oh yeah, no, I was just gonna say, it's
• 12:25
  Speaker 3: amazing like that that's a huge deal in the year
• 12:28
  Speaker 3: two thousand. It's so absolutely phenomenal that that is a
• 12:33
  Speaker 3: thing that happened and this was the movie that did it,
• 12:35
  Speaker 3: and what a perfect film to do it with all
• 12:37
  Speaker 3: of the you know, like with it being animation where
• 12:40
  Speaker 3: you don't actually have to physically shoot anything, and also
• 12:43
  Speaker 3: so much computer animation integrated with two D illustration.
• 12:47
  Speaker 2: Yeah.
• 12:48
  Speaker 3: Yeah, this was the perfect film for a test case.
• 12:50
  Speaker 2: And we're just two years out from Attack of the Clones,
• 12:55
  Speaker 2: which was the first like live action to completely be
• 12:58
  Speaker 2: digital in the pipeline, and that was doing the exact
• 13:01
  Speaker 2: same thing, but on the film or not film, on
• 13:05
  Speaker 2: the real visual side of the thing. So yeah, I'd
• 13:10
  Speaker 2: say these two movies are our siblings in that regard,
• 13:15
  Speaker 2: in that moment of film history of what was being accomplished.
• 13:19
  Speaker 2: And I think, you know, on the sliding scale of
• 13:22
  Speaker 2: shots on the quality. Yeah, Like so there's definitely some
• 13:25
  Speaker 2: of the shots inside the ships where they're running around
• 13:28
  Speaker 2: the camp, the cameras are moving a ton and you
• 13:31
  Speaker 2: really feel it. But some of the exteriors, my god,
• 13:35
  Speaker 2: are gorgeous, like the ice you know, Nebula the I
• 13:40
  Speaker 2: call it the Bad Lads. It looks like the Bad
• 13:41
  Speaker 2: Lads guys from deep Space. Side looks exactly like the
• 13:44
  Speaker 2: bad Lands. But you know what they're flying through with
• 13:47
  Speaker 2: the Wake Angels, and just a lot of the space
• 13:52
  Speaker 2: exterior shop the laser chainsaw guys. As a kid in
• 13:56
  Speaker 2: two thousand, I wanted to be a laser chainsaw that
• 13:59
  Speaker 2: could cut a ship in half. Probably not Osha approved,
• 14:03
  Speaker 2: but I love that there was a lot of.
• 14:06
  Speaker 3: Really cool moments where you could tell that even though
• 14:09
  Speaker 3: they were utilizing CG technology, it still forced the illustrators
• 14:16
  Speaker 3: to go a little bit further and kind of kind
• 14:19
  Speaker 3: of step up their game when it came to camera movement.
• 14:23
  Speaker 3: Yes where I mean when you look at Japanese animation
• 14:28
  Speaker 3: by this time, they are already, you know, utilizing really
• 14:31
  Speaker 3: cool camera movements and you know, like three sixty shots
• 14:34
  Speaker 3: and just kind of like moving all around and like
• 14:36
  Speaker 3: really frenetic things like that, and American animation really had
• 14:40
  Speaker 3: to catch up. They've always kind of been like a
• 14:42
  Speaker 3: decade behind when it comes to camera movement, but this
• 14:46
  Speaker 3: movie didn't feel that way. And like, when you know,
• 14:49
  Speaker 3: I think, one shot comes to mind, and this is
• 14:51
  Speaker 3: just one that pops in my brain is We're in
• 14:52
  Speaker 3: the cockpit with Bill Bill Pullman, and the camera rotates
• 14:58
  Speaker 3: around them about one hundred eighty degrees and he moves
• 15:01
  Speaker 3: like as he's turning to face towards the console. The
• 15:05
  Speaker 3: camera spins with him, and so the CG cockpit spins
• 15:10
  Speaker 3: and the two d illustrated Bill Pullman spins as the
• 15:14
  Speaker 3: camera moves, and you know that had to be done
• 15:17
  Speaker 3: in unison, and it looked very, very cool. And then
• 15:21
  Speaker 3: there was other times when you know, like they would
• 15:24
  Speaker 3: they were at the Space Diner and some backgrounds are
• 15:29
  Speaker 3: CG and the people were illustrated, and it looked like
• 15:31
  Speaker 3: it was just slapped on. And then you'd have like
• 15:36
  Speaker 3: the ticker tape, see like a alien numbers going by,
• 15:40
  Speaker 3: and I think there was a moment, there's a few
• 15:42
  Speaker 3: moments when I think they rendered the CG at a
• 15:45
  Speaker 3: frame rate other than the illustration, so it looked like
• 15:49
  Speaker 3: it was thirty frames and the illustration was twenty four frames,
• 15:53
  Speaker 3: and so it looked more like video mixed with film.
• 15:56
  Speaker 3: It just it just kind of played tricks on your eyes.
• 16:00
  Speaker 2: And a lot of that could be just I mean,
• 16:03
  Speaker 2: I think I give I'm not saying I give that
• 16:05
  Speaker 2: a pass. I'm saying I understand that, especially because of
• 16:08
  Speaker 2: the time crunch, there were I'm sure there were shots
• 16:11
  Speaker 2: where they're like, okay, these dozen shots are. We're going
• 16:14
  Speaker 2: to get them done, but they are not going to
• 16:16
  Speaker 2: be the polished quality of the flying through the space
• 16:20
  Speaker 2: storm shot because we don't have the time.
• 16:23
  Speaker 3: If anything, it could just be growing pains, you know,
• 16:26
  Speaker 3: like this is new and integration is new, and yeah,
• 16:29
  Speaker 3: I think it's just one of those things where we
• 16:32
  Speaker 3: don't have this nail down.
• 16:34
  Speaker 1: I can say that. I think that.
• 16:37
  Speaker 4: Probably when it starts off having issues earlier in the
• 16:41
  Speaker 4: production process, given what is the reported final cost, Fox's
• 16:48
  Speaker 4: smartest move would have been to scrap the project. I'm
• 16:51
  Speaker 4: not saying that. I'm you know, oh, I hate this
• 16:53
  Speaker 4: movie so much. I'm not saying it like that. I'm saying, like,
• 16:57
  Speaker 4: listening to all of this, the truly smart executive move,
• 17:01
  Speaker 4: like the head of Fox or whoever got fired for
• 17:03
  Speaker 4: it kind of deserves it because you have to make
• 17:07
  Speaker 4: really terrible calls sometimes, and this definitely the behind the
• 17:11
  Speaker 4: scenes stuff comes across as somebody needed to sit in
• 17:15
  Speaker 4: that chair and say, I know this is the unpopular decision,
• 17:18
  Speaker 4: but we got to scrap this and maybe come back
• 17:20
  Speaker 4: to it fresh. But we are not there yet and
• 17:23
  Speaker 4: we can't get this done now. That costs them When
• 17:28
  Speaker 4: in the Blue Ribbon Prize for being the first end
• 17:30
  Speaker 4: to end digital. Yes, this loses them a couple of
• 17:34
  Speaker 4: firsts and everything, but you know, in the long enough run,
• 17:38
  Speaker 4: you look at a project like this and it's like,
• 17:40
  Speaker 4: there are other movies that get scrapped early on in
• 17:42
  Speaker 4: the pipeline. I'd be curious as to why Fox was
• 17:46
  Speaker 4: so dedicated to making this thing, like making the question,
• 17:50
  Speaker 4: you know, was this a statement project for somebody at Fox?
• 17:55
  Speaker 1: Well?
• 17:55
  Speaker 2: And yeah, especially since after this, I mean it closed
• 17:59
  Speaker 2: Fox Animation, I mean they and then they kind of
• 18:01
  Speaker 2: shifted to having Blue Sky make make things for them. Yeah,
• 18:06
  Speaker 2: I again making kind of comparisons to Star Wars. You know,
• 18:10
  Speaker 2: Star Wars could Burt could shoulder the burden of the
• 18:16
  Speaker 2: new technology push because it's Star Wars and it and
• 18:20
  Speaker 2: it was sitting on the backs of all the money
• 18:23
  Speaker 2: it was making and the previous film was making and
• 18:26
  Speaker 2: all of that, so like it can absorb that blow
• 18:29
  Speaker 2: of it not being quite as big. This just like
• 18:33
  Speaker 2: crumpled it like a house of cards, like it could
• 18:36
  Speaker 2: not to innovate in that space.
• 18:38
  Speaker 3: And also you have a shepherd like Lucas who is
• 18:43
  Speaker 3: all about driving technology forward and knows how to utilize
• 18:46
  Speaker 3: it and knows how to work it, and knows when
• 18:49
  Speaker 3: to innovate and when to fall back on traditional techniques.
• 18:52
  Speaker 3: And you know, the people at Fox and Bluth and
• 18:55
  Speaker 3: everybody else they made, I'm they're not Lucas, you know,
• 18:59
  Speaker 3: And so yeah.
• 19:00
  Speaker 4: Well, and Lucas bore like, let's say, in some reality
• 19:04
  Speaker 4: where one of those prequels like completely bombed, Fox wasn't
• 19:08
  Speaker 4: really on the hook for that.
• 19:09
  Speaker 1: Lucas was funding it all himself.
• 19:11
  Speaker 4: That was a zero risk game for Fox, and I
• 19:14
  Speaker 4: think that winds up being a thing where I think
• 19:16
  Speaker 4: they didn't realize exactly how much of a gamble it
• 19:19
  Speaker 4: really was.
• 19:20
  Speaker 1: I mean, what you're.
• 19:20
  Speaker 4: Saying is absolutely right, Tristan. But at the same time,
• 19:22
  Speaker 4: like if Lucas had failed, Fox lost nothing, you know,
• 19:25
  Speaker 4: they just they just they were like, oh well, we
• 19:27
  Speaker 4: just didn't get to distribute this thing, whereas with this
• 19:30
  Speaker 4: it was their own money and resources that they poured
• 19:32
  Speaker 4: into it.
• 19:32
  Speaker 1: Now.
• 19:33
  Speaker 4: I found it was interesting reading in the Wikipedia thing
• 19:37
  Speaker 4: that Chris Melodandry I think that's how he pronounced his
• 19:41
  Speaker 4: last name. The guy has gone on to give the
• 19:43
  Speaker 4: world the minions and make tons of cash with that,
• 19:47
  Speaker 4: and basically become the driving force behind Universal's year end
• 19:51
  Speaker 4: reports to its shareholders, Like he worked on this film.
• 19:55
  Speaker 4: I'm like, wow, that's that's actually pretty cool. I'd love
• 19:58
  Speaker 4: to sit down with him in a like an off
• 20:00
  Speaker 4: the record conversation, be like, did you take any lessons
• 20:02
  Speaker 4: from your experiences so sort of leverage.
• 20:05
  Speaker 2: So tightan ae, like, let's talk about the doc.
• 20:08
  Speaker 1: Time, you know, right exactly.
• 20:11
  Speaker 3: Now, I haven't heard that name for a long time.
• 20:14
  Speaker 2: Right, Look, we don't talk about Bob. We just don't
• 20:16
  Speaker 2: talk about Bob. There's never gonna be a character named
• 20:18
  Speaker 2: Bob any of that. There you are, but yeah, no,
• 20:21
  Speaker 2: and again just looking around this early two thousands era,
• 20:26
  Speaker 2: again this is all conjecture because IMDV didn't tell me
• 20:29
  Speaker 2: the answer. But you know, you were asking about what
• 20:34
  Speaker 2: chip is on twentieth century Fox Animation shoulder to be
• 20:39
  Speaker 2: the who are they trying to beat? But I am
• 20:42
  Speaker 2: kind of remembering that around this time, Disney wasn't as hot.
• 20:47
  Speaker 2: Pixar was taking off like a like a shot but
• 20:50
  Speaker 2: pixel but Disney had kind of peeked through its renaissance
• 20:54
  Speaker 2: and was you know, now we're kind of hitting towards Chicken,
• 20:57
  Speaker 2: little like two thousand and one had Atlantis the Lost Empire,
• 21:01
  Speaker 2: which also used some CG effects for like the listed
• 21:05
  Speaker 2: sub and you know, some of the vehicles. I think
• 21:09
  Speaker 2: they matched the colors better. But so I don't know
• 21:13
  Speaker 2: if this was another round of uh, trying to get
• 21:17
  Speaker 2: Disney in their sights again. Well, and they're like, maybe
• 21:21
  Speaker 2: we're going to be the new dominating animation powerhouse for
• 21:24
  Speaker 2: the next decade.
• 21:25
  Speaker 4: But that's that's a great that's a great thought because
• 21:28
  Speaker 4: dream Works as a sentant at this point, aren't they
• 21:31
  Speaker 4: But they weren't invulnerable because.
• 21:34
  Speaker 2: Oh one was Shrek, right, Yeah, I'm pretty sure sore
• 21:37
  Speaker 2: from Shrek. So DreamWorks isn't even a player yet.
• 21:40
  Speaker 4: Yeah yeah, But but they had been founded, right, they'd
• 21:43
  Speaker 4: been founded, but they hadn't really done anything of note
• 21:46
  Speaker 4: or am I just getting my timeline mixed up?
• 21:47
  Speaker 2: Well, there's DreamWorks and there's Dreamers Animation because they were
• 21:51
  Speaker 2: two separate. So I think DreamWorks as like actual motion Pictures,
• 21:56
  Speaker 2: had already made a thing or two.
• 21:58
  Speaker 3: Someone someone can pull that up.
• 21:59
  Speaker 2: But but moving moving past, like the visuals, because I mean,
• 22:02
  Speaker 2: we can talk about the visuals for for for decades.
• 22:05
  Speaker 2: But uh yeah, so with the animation. I just said,
• 22:09
  Speaker 2: I'm definition so with the with the story, uh it,
• 22:13
  Speaker 2: it's a very you know, it's a decent story. You know,
• 22:17
  Speaker 2: it's a story of you know called there's the called adventure,
• 22:22
  Speaker 2: There's the Lost Father, you know there. I mean we're
• 22:25
  Speaker 2: two years later we get Treasure Planet, which I think
• 22:29
  Speaker 2: tells a much clearer story. Not the exact same one,
• 22:33
  Speaker 2: but there's definitely very similar vibes to this movie. I
• 22:38
  Speaker 2: would almost say Titany walked, so Treasure Planet could run
• 22:42
  Speaker 2: as far as as far as prepping audience for this
• 22:45
  Speaker 2: type of spacefaring adventure. But yeah, but overall, it feels
• 22:53
  Speaker 2: like a movie that kind of restarts, you know, and
• 22:57
  Speaker 2: we've talked about this in other movies way where honestly,
• 23:01
  Speaker 2: the whole beginning it's like you're hooked, something's going on,
• 23:06
  Speaker 2: the wind's blowing, the dragic Like the first ten five
• 23:10
  Speaker 2: minutes of this movie are so intense, and like you said, Tristan,
• 23:14
  Speaker 2: I kind of felt that too. When the planet gets destroyed,
• 23:17
  Speaker 2: my planet, your planet, our planet, I'm kind of like, oh,
• 23:21
  Speaker 2: so we're not saving the planet. The planet is literally gone,
• 23:25
  Speaker 2: and I yeah, I felt a little something. And then
• 23:30
  Speaker 2: it's like I've already kind of connected to the dad.
• 23:32
  Speaker 2: I've connected to the you know, his lieutenant, you know alien. Oh,
• 23:37
  Speaker 2: there's aliens that are interacting with us at this time.
• 23:39
  Speaker 2: That's cool and little you know, little Kale.
• 23:44
  Speaker 3: Yeah, that's what was cool is that I know this
• 23:48
  Speaker 3: may sound obvious because it was in the year like
• 23:49
  Speaker 3: thirty one hundred whatever, but to see aliens help humans
• 23:55
  Speaker 3: out during the evacuation, that was really cool to see.
• 24:00
  Speaker 2: Yeah, the world building in the first five minutes of
• 24:03
  Speaker 2: this is ten out of ten, Like, I am in
• 24:06
  Speaker 2: it and to win it, and I'm hooked. And then
• 24:09
  Speaker 2: we jump like fifteen years and the pace goes way down. Yeah,
• 24:15
  Speaker 2: we take our foot completely off the gas, and we
• 24:19
  Speaker 2: got to learn this new character. I mean it's the
• 24:22
  Speaker 2: same character, but we got to learn, Okay, what's the
• 24:24
  Speaker 2: reality of a drifter group of humans and what's going on,
• 24:31
  Speaker 2: and you know, we kind of get this protagonist who
• 24:35
  Speaker 2: is really sour on everything, and and again that's the plot.
• 24:39
  Speaker 2: I get it, but it Yeah, it kind of starts
• 24:42
  Speaker 2: over after like ten minutes and now you have to
• 24:46
  Speaker 2: like that energy is gone and they kind of get
• 24:49
  Speaker 2: it back a little bit at the end. But yeah, it.
• 24:54
  Speaker 2: Maybe I'm not saying I'm rewriting the movie, but like,
• 24:57
  Speaker 2: maybe you have cal be like older in the beginning,
• 25:00
  Speaker 2: and this whole thing takes the place over like three years,
• 25:04
  Speaker 2: or do you think John he needs the the years
• 25:07
  Speaker 2: of sourness to really like cement his because at the
• 25:11
  Speaker 2: end of the day, the question is are humans going
• 25:14
  Speaker 2: to rally?
• 25:15
  Speaker 4: I think the easiest cheat is as compelling as that
• 25:20
  Speaker 4: destroying the planet moment is at the start, is starting
• 25:24
  Speaker 4: instead with flashes of it and having it be like Kale, Yeah,
• 25:29
  Speaker 4: Kale's dream and he wakes up from it, or he's
• 25:32
  Speaker 4: been daydreaming while he's been Hey kid, your your laser chainsaw,
• 25:35
  Speaker 4: almost cut my head off, get your head out of
• 25:37
  Speaker 4: the cloud sort of thing. I mean, it is a cheat,
• 25:40
  Speaker 4: but it's a worthwhile cheat because you get a little
• 25:42
  Speaker 4: taste of that and you're like, oh, what is that about?
• 25:44
  Speaker 4: What's in his head?
• 25:46
  Speaker 2: What did he live through that set him like this?
• 25:48
  Speaker 2: We don't see it in a cinematic right explanation, that's
• 25:53
  Speaker 2: not a bad idea.
• 25:54
  Speaker 4: And then you have you go through and you get
• 25:57
  Speaker 4: other tastes of it, and then Kale finally has to
• 26:00
  Speaker 4: tell what was her name. I'm sorry, I forget the
• 26:04
  Speaker 4: female leads name Achma, Achema. He has to tell Achema
• 26:09
  Speaker 4: the full story, and then you do the lap dissolve
• 26:11
  Speaker 4: and it's like, this is what happened, and you're like,
• 26:13
  Speaker 4: oh my god.
• 26:14
  Speaker 2: I would almost take it as far as what if
• 26:17
  Speaker 2: every human who experienced that has like traumatic flashbacks every
• 26:21
  Speaker 2: time they sleep, and they're all slightly different perspectives, so
• 26:24
  Speaker 2: like Achema remembers like and so we get little pieces
• 26:28
  Speaker 2: of that day, like it's a like they got to
• 26:30
  Speaker 2: have a name for that day, like it's a terrible
• 26:32
  Speaker 2: day for humanity.
• 26:34
  Speaker 4: Well that that was one of those things that was
• 26:36
  Speaker 4: a little confusing was because Achema at one point said
• 26:39
  Speaker 4: she was raised in a drifter colony, and I was like,
• 26:41
  Speaker 4: so are they saying she's fourteen years old or like
• 26:46
  Speaker 4: I think somebody didn't quite do the math because she
• 26:49
  Speaker 4: said at one point she grew up in a drifter colony.
• 26:51
  Speaker 2: Well they I guess I would. I would just make
• 26:55
  Speaker 2: the leap that there were probably human colonies already in
• 26:58
  Speaker 2: the year three thousand and whatever. Her she's so she
• 27:01
  Speaker 2: just never was an earther guy. But but you're right,
• 27:05
  Speaker 2: the terminology they used did imply like I never saw
• 27:09
  Speaker 2: the earth, right, but but yeah.
• 27:12
  Speaker 4: Yeah, I mean, and maybe that just speaks to the
• 27:14
  Speaker 4: fact that, like, I know how the story goes and everything.
• 27:18
  Speaker 4: But maybe they could have spent more time talking about
• 27:22
  Speaker 4: her collecting the junk, because we get some lines about
• 27:25
  Speaker 4: and you know, hats off to Drew Barrymore. I think
• 27:28
  Speaker 4: she did a really good job with her voice characterization here,
• 27:32
  Speaker 4: and maybe we could have spent more time with the
• 27:35
  Speaker 4: whole collecting the junk, maybe even have a scene earlier
• 27:38
  Speaker 4: where somebody wants to buy something off of Kale and
• 27:41
  Speaker 4: he sells it to him. He's like, yeah, what do
• 27:43
  Speaker 4: I care? That's from Earth whatever, right, you know, like
• 27:45
  Speaker 4: give us a let.
• 27:46
  Speaker 2: Drifters are like, oh you have you know a bo
• 27:50
  Speaker 2: Bompson's Rookie card, Like that's amazing, like you know, or
• 27:54
  Speaker 2: it exists anymore.
• 27:55
  Speaker 4: Or he's carrying something on him and the first time
• 27:57
  Speaker 4: she encounters him, she's like, what you have that? And
• 28:00
  Speaker 4: he's like what, It's a piece of junk? What are
• 28:01
  Speaker 4: you talking about? You know, basically, just like space out
• 28:04
  Speaker 4: these things and like seed it through the story a
• 28:06
  Speaker 4: little bit more. But I think that I think through
• 28:08
  Speaker 4: the whole house of Bluth. We found that Bluth has
• 28:13
  Speaker 4: had an issue with making a clearly linear build with everything.
• 28:19
  Speaker 4: It's a more episodic approach to the storytelling.
• 28:24
  Speaker 2: Yeah, we're like, do you kind of feel like that, Tristan?
• 28:26
  Speaker 2: Is this a collection of you know, here's the scenes
• 28:30
  Speaker 2: of laser chainsaw, and here's the scenes of intergalactic space
• 28:35
  Speaker 2: bar and here's the scenes of you know, pirate ship
• 28:38
  Speaker 2: flying or is it is? Is Bluth getting better at
• 28:41
  Speaker 2: the cohesive storiness of this?
• 28:44
  Speaker 3: I think it's a little bit better than that. I
• 28:46
  Speaker 3: think it's better than Secret of Nim, where like Secret
• 28:49
  Speaker 3: of Nim was very much like a collection of vignettes,
• 28:52
  Speaker 3: this didn't. This didn't feel too much like vignettes to me,
• 28:56
  Speaker 3: Like it felt like more of a hero's journey and
• 29:01
  Speaker 3: more like a almost like a video game where it's like, Okay,
• 29:04
  Speaker 3: we went to this place and got this thing. Now
• 29:07
  Speaker 3: we got to go to this place and get this thing,
• 29:09
  Speaker 3: and now we got to go to this place and
• 29:10
  Speaker 3: pick up this person, and now we can go to
• 29:11
  Speaker 3: this place and go to and do this thing. Uh,
• 29:14
  Speaker 3: Which I'm not trying to be reductive or anything like that,
• 29:17
  Speaker 3: but that's That's kind of how I felt. And I
• 29:20
  Speaker 3: feel like this was the most linear of Blue's work
• 29:25
  Speaker 3: that we are discussing. Let me know if I'm wrong
• 29:29
  Speaker 3: on that, But like this one, you know, you know,
• 29:32
  Speaker 3: see Secret of Nim kind of bounced all over the place,
• 29:35
  Speaker 3: you have. You know, maybe Land Before Time probably is
• 29:40
  Speaker 3: more linear than this because it's I feel like Bluth
• 29:43
  Speaker 3: really enjoys the refugee experience. If you look at the movies, Yeah,
• 29:50
  Speaker 3: that that we're because I mean, we haven't regarded all.
• 29:52
  Speaker 4: That Anastasia, even though we didn't discuss it. Yeah that's okay, fair, fair.
• 30:00
  Speaker 2: Yeah, all of the Russian mark. Yeah, it's just a
• 30:04
  Speaker 2: little event, you know.
• 30:06
  Speaker 3: Yeah, I really do feel like that he's drawn to
• 30:09
  Speaker 3: that experience. He's drawn to that tale, an American tale.
• 30:16
  Speaker 1: But yeah, so.
• 30:19
  Speaker 3: With that one, I feel like this. I feel like
• 30:21
  Speaker 3: this is cohesive, and I feel like the only time
• 30:26
  Speaker 3: that it feels like a collection of things is it's
• 30:30
  Speaker 3: because this is such a two thousands movie. It feels
• 30:32
  Speaker 3: like a collection of music videos. There's certain times when
• 30:37
  Speaker 3: it feels like we go into music video territory. I'm like,
• 30:40
  Speaker 3: oh my god, I feel like I'm on TRL. It's
• 30:43
  Speaker 3: just yeah, it's that that takes me out of it
• 30:47
  Speaker 3: more than the bad CGI two D integration. Is that
• 30:51
  Speaker 3: all of a sudden, we're in a music video.
• 30:54
  Speaker 2: Yeah, I get what you're saying. I wouldn't go so
• 30:56
  Speaker 2: far as saying it takes me out of it. I
• 30:58
  Speaker 2: would say it roots it in two thousand, like it
• 31:02
  Speaker 2: screams two thousand win those music videos, you know. I
• 31:06
  Speaker 2: think it's kick in to me.
• 31:08
  Speaker 4: It makes it feel even older than that, because it
• 31:10
  Speaker 4: feels like a movie in two thousand, trying to evoke
• 31:13
  Speaker 4: the experience of seeing heavy metal from I think that
• 31:16
  Speaker 4: came out in eighty three, and it's like, now, while
• 31:18
  Speaker 4: we don't have any nudity, profanity, or terrific Sammy Hagar
• 31:22
  Speaker 4: music in this, we do have a sense of like, Okay,
• 31:26
  Speaker 4: we had a new scene and now here's a rock
• 31:28
  Speaker 4: song that you all love, and.
• 31:29
  Speaker 1: It's like, ah, it's weird.
• 31:33
  Speaker 4: I think maybe that's why I feel like it's a
• 31:34
  Speaker 4: little bit disconnected is because when it did hit those moments,
• 31:38
  Speaker 4: it felt like they were no, wise.
• 31:40
  Speaker 2: Is this a music moment? Like what's going on?
• 31:42
  Speaker 4: Well, it felt like they were far less concerned with
• 31:45
  Speaker 4: advancing the story with these scenes than saying Okay, this
• 31:49
  Speaker 4: is where we're going to do this.
• 31:50
  Speaker 2: The story pauses during those scenes.
• 31:53
  Speaker 4: Even through the giant chase, through the oddly shaped orbs.
• 32:00
  Speaker 3: About the testical field. Testical field is what I was
• 32:03
  Speaker 3: talking about. Yes, Oh okay, yeah, testical Yeah, the testical field.
• 32:06
  Speaker 1: Yes, the testical field.
• 32:08
  Speaker 2: Lucas had the sense to put them under water instead
• 32:11
  Speaker 2: of floating on top of the one.
• 32:12
  Speaker 4: You know what, they still didn't look quite as much
• 32:14
  Speaker 4: like testicles as these did.
• 32:16
  Speaker 1: Really didn't.
• 32:17
  Speaker 3: Gonna have to agree with John on this one.
• 32:20
  Speaker 4: Yeah, these really had a testicular feel.
• 32:23
  Speaker 1: They really did.
• 32:24
  Speaker 3: Now I'm not these balls are making me.
• 32:29
  Speaker 4: We too had a story like that, Tristan. There was
• 32:32
  Speaker 4: a ball and we bounced five feet high, then it
• 32:35
  Speaker 4: bounds three feet high, then it bounds ten.
• 32:38
  Speaker 1: Yeah, you know it's uh it is.
• 32:41
  Speaker 4: I think it's the music video aspect of it is
• 32:43
  Speaker 4: probably what's making me feel like they were just getting
• 32:47
  Speaker 4: to a segment as opposed to I mean, honestly, I
• 32:51
  Speaker 4: think that this narrative structure bears a lot more in
• 32:56
  Speaker 4: common with an American tale than any of the previous ones,
• 33:00
  Speaker 4: where it's like there is a linear ish story going
• 33:03
  Speaker 4: on here, but there's not really a like it.
• 33:06
  Speaker 1: Somebody didn't sit.
• 33:07
  Speaker 2: Down making the music. Is what is our character feeling.
• 33:12
  Speaker 2: It's the rush of, like, you know, doing my job.
• 33:16
  Speaker 2: It's the rush of flying a ship, you know, or
• 33:19
  Speaker 2: or escaping the bad guys like yeah, no, no, no
• 33:23
  Speaker 2: it yeah no again. It's it's a It's a very
• 33:28
  Speaker 2: interesting film in the fact of just yeah, these little
• 33:31
  Speaker 2: musical vignettes that are interspersed, but but even more so
• 33:36
  Speaker 2: with the with the voice cast a man Nathan Lane.
• 33:40
  Speaker 2: I think he is one of the standouts in this.
• 33:43
  Speaker 2: He what a wonderful performance shoeing the scenery up. I
• 33:47
  Speaker 2: love it. His character is so expressive. I loved preed.
• 33:52
  Speaker 3: And it felt like Nathan Lane being able to be
• 33:55
  Speaker 3: Nathan Lane.
• 33:56
  Speaker 2: Like a ten of Nathan Lane. This.
• 34:00
  Speaker 1: Yeah.
• 34:01
  Speaker 4: For for half a minute, I actually thought that he
• 34:04
  Speaker 4: was being voiced by like I was like, oh, that's
• 34:06
  Speaker 4: Nathan Lane. But then there was one point where he
• 34:08
  Speaker 4: was having so much fun with it. He went up
• 34:10
  Speaker 4: sounding like the guy who does Master Shake from Aquitine
• 34:13
  Speaker 4: Hunger Force, and because their vocal characterizations in those moments
• 34:19
  Speaker 4: are very similar. But that that, if anything, is me
• 34:23
  Speaker 4: complimenting mister Lane because that means he was he was
• 34:26
  Speaker 4: really committed to bringing that character to life.
• 34:30
  Speaker 3: There was one voice I really enjoyed the voice acting
• 34:33
  Speaker 3: in this. I felt like Matt Damon did fine. I
• 34:37
  Speaker 3: felt like Matt. I feel like Cale's character probably could
• 34:43
  Speaker 3: have been played by a lot of different people. You know,
• 34:46
  Speaker 3: it's just one of those you know, there's changeable. Yeahah,
• 34:51
  Speaker 3: I think that's a pretty solid And also, and also
• 34:54
  Speaker 3: because it's the year two thousand, the name Kale doesn't
• 34:57
  Speaker 3: evoke a horrible tasting salad as it does in twenty
• 35:01
  Speaker 3: twenty four.
• 35:02
  Speaker 2: It's like we're gonna eave him cal Oh, we put
• 35:04
  Speaker 2: it in there. Okay, he's Kale now, but it's for
• 35:07
  Speaker 2: a ce, so it's okay.
• 35:08
  Speaker 3: But the only voice that kind of took me out
• 35:10
  Speaker 3: of it was Drew Barrymore. And I I'm a big
• 35:14
  Speaker 3: Drew Barrymore fan. I really like Drew Barrymore. And I'm
• 35:17
  Speaker 3: not just saying that, like Donnie Darko, Slana Clarita Diet
• 35:22
  Speaker 3: a big, big fan. But for some reason, her voice
• 35:27
  Speaker 3: is so unique that all that I'm thinking about is
• 35:31
  Speaker 3: that's Drew Barrymore.
• 35:33
  Speaker 4: I was not there with you. If anything I thought
• 35:37
  Speaker 4: that I.
• 35:37
  Speaker 2: Never saw Drew Barrymore when it was going through my mind, I.
• 35:41
  Speaker 4: Thought that it was I thought that she Actually, I'm
• 35:45
  Speaker 4: not the world's biggest Drew Barrymore fan, but when she
• 35:52
  Speaker 4: when she performed something well, like She's the reason I'm
• 35:56
  Speaker 4: not the biggest fan is because when she does something well,
• 35:59
  Speaker 4: I think think she really absolutely masterclass nails it, and
• 36:04
  Speaker 4: I think that when she doesn't like it completely takes
• 36:08
  Speaker 4: me out of the experience sort of thing. And with
• 36:10
  Speaker 4: this I actually thought she was one of the better
• 36:12
  Speaker 4: vocal performances in here. I think that, if anything, she
• 36:15
  Speaker 4: outclassed Matt Damon.
• 36:19
  Speaker 3: Oh I agree with that.
• 36:19
  Speaker 4: Yeah, So now again it's it's.
• 36:22
  Speaker 3: Not a knock on her performance. I think she acted
• 36:25
  Speaker 3: very well. I think it's just the nature of her voice,
• 36:27
  Speaker 3: at least for me, I.
• 36:30
  Speaker 4: Think she sounded very Scarlet Johansony in this one, which
• 36:33
  Speaker 4: was which was interesting. It was sort of an interesting
• 36:36
  Speaker 4: audio similarity to pick up on.
• 36:39
  Speaker 3: It was a very you know, it was kind of
• 36:41
  Speaker 3: a tangent. But like I love Scarlet Johansson voice work,
• 36:45
  Speaker 3: I think she needs to do more voice acting gigs.
• 36:48
  Speaker 4: Yeah, I don't disagree on that, sure, yeah, yeah, well.
• 36:52
  Speaker 2: And I think also, I mean Bill Pullman his he
• 36:56
  Speaker 2: was also still in the show. Just think Captain. He's
• 37:01
  Speaker 2: you know, kind of the father figure but double cross
• 37:05
  Speaker 2: trum triple double, double triple cross. Yeah, it kind of
• 37:10
  Speaker 2: saw that coming, but it was just again, I wanted
• 37:14
  Speaker 2: to spend more time with his actual dad. I was
• 37:16
  Speaker 2: so hooked on that first five minutes of story, but
• 37:19
  Speaker 2: that's not the story we're going to get.
• 37:21
  Speaker 3: I was surprised. I really thought that we were going
• 37:25
  Speaker 3: to get to the Titan and Ron Pearlman was going
• 37:27
  Speaker 3: to be like frozen or.
• 37:30
  Speaker 2: Yeah, no, his dad's just dead is gone.
• 37:33
  Speaker 3: He's gone. Yeah, like not. We don't even get like
• 37:37
  Speaker 3: a Joe l kind of situation where he gets to
• 37:41
  Speaker 3: interact with an AI version.
• 37:42
  Speaker 2: There's the hologram like a teen message, but it was
• 37:45
  Speaker 2: like a voicemail at best.
• 37:46
  Speaker 3: It wasn't yeah, you're right, that's closer to the drall
• 37:50
  Speaker 3: than not.
• 37:51
  Speaker 2: But I get you're saying. It wasn't like I have
• 37:53
  Speaker 2: the answers like, because that's the thing I guess maybe
• 37:56
  Speaker 2: that's the core of the movie is it was like
• 38:00
  Speaker 2: I'm looking for my father for answers, because the question
• 38:04
  Speaker 2: was is humanity worth sticking around? Which is kind of
• 38:08
  Speaker 2: a terrible question, Like so it you know, it wasn't
• 38:14
  Speaker 2: even the question of like why did you leave? Like
• 38:16
  Speaker 2: like he's kind of over his dad by the time
• 38:20
  Speaker 2: we get to him. Yeah.
• 38:21
  Speaker 4: I think that the movie, if it's asking the question
• 38:24
  Speaker 4: of whether humanity deserves to survive at the expense of
• 38:27
  Speaker 4: another species, possibly every last one of them that exists,
• 38:32
  Speaker 4: so that it can power its world building engine, I
• 38:35
  Speaker 4: think the movie lands firmly in the yes column. But yeah,
• 38:39
  Speaker 4: I think the Kale's motivation is not solid. I don't
• 38:44
  Speaker 4: know what to pin it on, right, because I.
• 38:46
  Speaker 2: Mean, this almost feels like the type of story where
• 38:49
  Speaker 2: it's like, oh, we made a bet, but we didn't
• 38:52
  Speaker 2: tell you, and then later you find out that we
• 38:54
  Speaker 2: made a bet and there's oh, I'm so sorry. Like
• 38:56
  Speaker 2: it's that kind of a vibe of the betrayal that
• 38:59
  Speaker 2: you're kind of like, okay, yeah.
• 39:02
  Speaker 4: You know that's But the thing is, I think that
• 39:04
  Speaker 4: what we're sort of like scratching at there is I
• 39:08
  Speaker 4: never I never felt that the characters who did want
• 39:12
  Speaker 4: to go find Titan sold it to Kale effectively. It
• 39:17
  Speaker 4: never lands at the point where I have a moment
• 39:19
  Speaker 4: with Kale where I feel like he suddenly really passionately
• 39:22
  Speaker 4: wanted to do the same thing. It's more that he's
• 39:25
  Speaker 4: a protagonist who doesn't do anything except go along for
• 39:28
  Speaker 4: the ride.
• 39:29
  Speaker 2: And it could have been like, maybe my dad's there,
• 39:32
  Speaker 2: there's some motivation, but no, there was like no talk
• 39:36
  Speaker 2: of that at all. It was like pretty much a
• 39:38
  Speaker 2: sure thing that his dad is dead and gone the
• 39:41
  Speaker 2: entire movie.
• 39:42
  Speaker 3: They wanted to make him a reluctant hero so bad
• 39:46
  Speaker 3: he was so reluctant that they missed the opportunity that
• 39:49
  Speaker 3: making him gung ho would have been just as cool. Yeah,
• 39:53
  Speaker 3: where like he meets Bill Pullman again, he's just like,
• 39:56
  Speaker 3: oh wait, you may know where my dad is. Let's
• 39:59
  Speaker 3: do this, like, let's let's figure this out.
• 40:02
  Speaker 2: Yeah yeah, yeah.
• 40:10
  Speaker 3: You know, Darren, what do you think of the music
• 40:12
  Speaker 3: on this one? Because they went through a lot of
• 40:14
  Speaker 3: different people.
• 40:15
  Speaker 2: Hey, they did a lot of people passed on this movie.
• 40:18
  Speaker 2: And again, I, you know, I like the music. It
• 40:22
  Speaker 2: had lots of Little Star Trek vibes. You know it.
• 40:27
  Speaker 2: It was an actionly animated movie. Honestly, I can't think
• 40:31
  Speaker 2: of the music without thinking of the music video aspect
• 40:33
  Speaker 2: of it, Like that's so powerful it overrides.
• 40:37
  Speaker 3: We were like one music video away from Creed popping
• 40:40
  Speaker 3: up in this.
• 40:42
  Speaker 4: But didn't they use Creed in the trailer?
• 40:45
  Speaker 1: But then they didn't use it in the movie.
• 40:47
  Speaker 3: It was in the year two thousand, of course they
• 40:49
  Speaker 3: used creat trailer, John, get your hat out of your ass.
• 40:53
  Speaker 4: Hey, listen here, mister, just because you got Creed for
• 40:56
  Speaker 4: the trailer money, you should maybe set aside some Creed
• 40:58
  Speaker 4: for the movie money too, right, Like you know, I
• 41:02
  Speaker 4: don't know that it was.
• 41:02
  Speaker 2: We don't need we don't need Creed. We have lit
• 41:06
  Speaker 2: Powerman five thousand exactly the urge Texas. I haven't heard
• 41:11
  Speaker 2: of any of these people. I didn't recognize.
• 41:14
  Speaker 3: Hey, hey, hey, you haven't heard of Litt or Powerman
• 41:16
  Speaker 3: five that.
• 41:17
  Speaker 4: Come on, you haven't. You haven't heard of Luscious Jackson
• 41:20
  Speaker 4: or Jamiroquai. No, I'm being dead serious like that. Okay,
• 41:24
  Speaker 4: those are again.
• 41:26
  Speaker 2: I I recognized their sound, but I don't recognize the
• 41:30
  Speaker 2: name because I just wasn't in that scene. I was
• 41:33
  Speaker 2: this during this time. It was all DC talk and
• 41:36
  Speaker 2: newsboys for me. Okay, Darren was too busy getting laid
• 41:40
  Speaker 2: in order we were we were firmly in the Christian bubble.
• 41:47
  Speaker 2: I was in that sphere.
• 41:59
  Speaker 1: Well I knew.
• 42:03
  Speaker 2: Good well, good way.
• 42:04
  Speaker 4: But but the thing is Graham Revel comes in with
• 42:08
  Speaker 4: with the score score part of it.
• 42:10
  Speaker 3: That's the that's the first I've ever heard that pronounced.
• 42:13
  Speaker 4: I'm I'm taking it.
• 42:17
  Speaker 1: I'm taking a guess that it's Graham.
• 42:19
  Speaker 4: Yeah, yeah, yeah, that part of it I thought was okay,
• 42:26
  Speaker 4: question mark, like the the the actual like score score
• 42:32
  Speaker 4: didn't really do anything for me at all. I didn't
• 42:36
  Speaker 4: love the music that they chose from the bands, but
• 42:40
  Speaker 4: the other music was It's fine. I know, I mean,
• 42:45
  Speaker 4: I know he did. I mean he's done stuff like
• 42:47
  Speaker 4: Strange Days, which was was pretty good.
• 42:51
  Speaker 2: I mean, I'm recognizing some of his stuff, like we
• 42:53
  Speaker 2: got Pitch Black, he did Planet.
• 42:57
  Speaker 4: Well, he's no stranger to the Hey, we're making a
• 43:01
  Speaker 4: killer music of the time period soundtrack and you're just
• 43:04
  Speaker 4: gonna provide additional music because he was he worked on
• 43:07
  Speaker 4: the Crow, so it's like, you know, he knows how
• 43:10
  Speaker 4: it works. Where it's like, oh, oh cool, you need
• 43:12
  Speaker 4: twenty minutes of music from me. Awesome, because the rest
• 43:15
  Speaker 4: of it's just going to be stuff that's hit with
• 43:17
  Speaker 4: the kids.
• 43:19
  Speaker 1: Yeah, you know, I don't know.
• 43:21
  Speaker 4: I mean it's like, would this movie have sparked more
• 43:25
  Speaker 4: with a better score would be a good question, Like
• 43:27
  Speaker 4: do you think that there was something that could have
• 43:29
  Speaker 4: been done to give it more of an emotional punch?
• 43:32
  Speaker 3: What was I think the bigger question is what was it?
• 43:37
  Speaker 3: Why did this movie not click with audiences? Was that
• 43:40
  Speaker 3: the lack of marketing? Was was it not word of mouth?
• 43:45
  Speaker 3: And if it wasn't word of mouth, what was it
• 43:48
  Speaker 3: about the story that didn't connect with people?
• 43:51
  Speaker 2: Okay, my vibe is I mean it's a PG movie.
• 43:55
  Speaker 2: Is it's not adult enough for teens to care? And
• 44:00
  Speaker 2: it's too like like I would feel like I saw
• 44:04
  Speaker 2: it because it's a space movie, so and that interests me,
• 44:09
  Speaker 2: But I feel like it would be a hard sell
• 44:12
  Speaker 2: on like the teen crowd to like they were trying
• 44:15
  Speaker 2: this is like is cool with a Z? You gotta
• 44:19
  Speaker 2: go see it? You know, like like they're trying real
• 44:22
  Speaker 2: hard to market it movies to the extreme.
• 44:25
  Speaker 4: Yeah, So that vibe, but Disney's damage to how people
• 44:30
  Speaker 4: perceived animation had been done by this point, and Shrek
• 44:36
  Speaker 4: revives it a little bit makes it okay to go
• 44:38
  Speaker 4: see animated movies if you're beyond four years old again, right,
• 44:42
  Speaker 4: or don't have a four year old in your house,
• 44:44
  Speaker 4: but releasing this animated movie against mission impossible, too big
• 44:50
  Speaker 4: Mama's house. Listen, Martin Lawrence big hit at that time.
• 44:54
  Speaker 1: That's a you know that, that's the type.
• 44:56
  Speaker 4: Of comedy movie that people are gonna want to go
• 44:57
  Speaker 4: see Gone in six Seconds, which is a nick cage
• 45:02
  Speaker 4: actioner that everybody loves. And then you get and then
• 45:05
  Speaker 4: you get hipster gen xers like myself, and you release
• 45:08
  Speaker 4: a reboot of Shaft.
• 45:12
  Speaker 1: That was who I was waiting in the movie theater.
• 45:14
  Speaker 3: Fo.
• 45:14
  Speaker 1: I was like, there, I'm there.
• 45:16
  Speaker 3: It's like speaking of your ambassador, your gen X ambassador,
• 45:21
  Speaker 3: Janine Garofferel Garuffalo was in this movie. Yeah, she was, Oh,
• 45:27
  Speaker 3: I'm sorry, I'm sorry. I didn't know you didn't vote
• 45:29
  Speaker 3: for her.
• 45:30
  Speaker 1: Uh, you know, that's okay.
• 45:31
  Speaker 4: It was also a script polished by Joss Whedon, So
• 45:35
  Speaker 4: I'm losing some of my geek cred by not being
• 45:37
  Speaker 4: over the moon for the script or its clever humor,
• 45:41
  Speaker 4: like talking about naming the planet Bob oh Man.
• 45:45
  Speaker 3: Yeah, that all man, Now that I know that Joss
• 45:47
  Speaker 3: Whedon was involved. That's hardcore Weedon esque.
• 45:50
  Speaker 2: Yeah, yeah, that seems like jokes at the end there,
• 45:54
  Speaker 2: what if he calls it Bob? Guys? What if he
• 45:56
  Speaker 2: calls the planet Bob? And it's literally the last thing
• 45:58
  Speaker 2: that sticks in your brain when this movie. It's again,
• 46:01
  Speaker 2: we don't stop the musical credits because we already spent
• 46:04
  Speaker 2: all the music in the movie. But I actually liked
• 46:07
  Speaker 2: the curtain call of like reminding you who all the
• 46:10
  Speaker 2: characters were with the little bio profiles.
• 46:13
  Speaker 4: And yes, I you know, the thing is, I don't know,
• 46:18
  Speaker 4: like there's a part of me that wants to go
• 46:19
  Speaker 4: back and rewatch it because I know that Ebert gave
• 46:22
  Speaker 4: it three and a half out of four stars, which
• 46:24
  Speaker 4: that's pretty high. That's that's a pretty solid rating from
• 46:28
  Speaker 4: from Ebert actually for him.
• 46:29
  Speaker 3: Yeah.
• 46:30
  Speaker 4: Yeah, And so there are some most people praised it for,
• 46:36
  Speaker 4: you know, the visuals. They recognize what what trailblazing was
• 46:39
  Speaker 4: going on. But I just, you know, I look at
• 46:43
  Speaker 4: this and I see the same issues that Bluth has
• 46:47
  Speaker 4: struggled with through this entire you know, body of work
• 46:50
  Speaker 4: that we've been looking at, and I just I did
• 46:54
  Speaker 4: my mind boggles at the fact that this ran away
• 46:57
  Speaker 4: and had, you know, like a nearly hundred million dollar
• 47:01
  Speaker 4: budget by the end of it. That's that's a lot
• 47:04
  Speaker 4: of money. I know that we all love to sit
• 47:06
  Speaker 4: there and make jokes about like, yeah, well they spend
• 47:09
  Speaker 4: half a billion dollars making a movie. Yeah, but one
• 47:11
  Speaker 4: hundred million dollars is still a lot of money. That's
• 47:14
  Speaker 4: still a lot of money, and just sinking all in
• 47:17
  Speaker 4: on that. And then again, we talk about release windows
• 47:21
  Speaker 4: all the time. They should have been scared off Big
• 47:25
  Speaker 4: Mama's House and Mission Impossible too. Are like Big Mama's
• 47:28
  Speaker 4: House was a twenty century Fox movie, right, and you
• 47:30
  Speaker 4: got Mission Impossible too. What scheduler doesn't say, Uh, I
• 47:34
  Speaker 4: don't know. Maybe we make this a Christmas release, guys, right,
• 47:38
  Speaker 4: like there's less competition.
• 47:40
  Speaker 2: Well, and I mean summer or Christmas. I mean this
• 47:43
  Speaker 2: was June. But yeah, you want to you want to
• 47:46
  Speaker 2: get those kids who have time off and their parents
• 47:51
  Speaker 2: have time off to go see this, you know in theaters. Yeah,
• 47:55
  Speaker 2: it I think at its core and I think we're
• 47:58
  Speaker 2: gonna shift into uh, well we'll shift him too after
• 48:01
  Speaker 2: we lance etiquette. But I was gonna say, at its core,
• 48:05
  Speaker 2: there's no heart like, I don't care about the struggle
• 48:10
  Speaker 2: of these characters, and and honestly, the flip floppiness doesn't
• 48:14
  Speaker 2: do any favors, Like it burns any credit that the captain,
• 48:19
  Speaker 2: who was kind of a cool character, possible surrogate dad had.
• 48:24
  Speaker 3: And what a weird turn at the end, so weird.
• 48:27
  Speaker 2: Maybe we can save them all. Okay, maybe literally at
• 48:32
  Speaker 2: me like two seconds ago, trying to kill me.
• 48:36
  Speaker 3: And then and then of course, you know, he's gonna
• 48:38
  Speaker 3: die because the rules of cinema dictate that because he
• 48:42
  Speaker 3: was a bad guy. Even though he turned he has
• 48:43
  Speaker 3: to die now, and he dies, you know, in a
• 48:45
  Speaker 3: blaze of gla Again.
• 48:48
  Speaker 2: That's why I liked pre Nathan Lane's character even better
• 48:51
  Speaker 2: because at least from the get go you could kind
• 48:53
  Speaker 2: of tell this guy was slimy, Like I never fully
• 48:56
  Speaker 2: trusted him, you know, of all the weird space alien characters.
• 49:02
  Speaker 2: So when he turned evil, I'm like, oh, yeah, that
• 49:05
  Speaker 2: totally tracks like that. But then it's like double secret
• 49:08
  Speaker 2: probation switch back and forth. I'm like, come on, what
• 49:12
  Speaker 2: is going on here? M all right? Well, is the
• 49:16
  Speaker 2: time of the episode where we talk about Lance Reddick.
• 49:20
  Speaker 2: We love Lance Reddick, we love placing him in movies
• 49:24
  Speaker 2: as a fun thought experiment. Again, this is nothing against
• 49:26
  Speaker 2: the actor or voice, actor or the character. We just
• 49:31
  Speaker 2: want to see where we place Lance. So John is
• 49:36
  Speaker 2: he Is he the Dredge Queen? Please tell me he's
• 49:39
  Speaker 2: the dredg Queen? Who is Lance? In your lineup? There's
• 49:42
  Speaker 2: not a ton of characters to pick from. Actually, it's
• 49:45
  Speaker 2: actually a fairly small cast.
• 49:47
  Speaker 4: I'm swapping out Pullman. I'm putting in Reddick as the
• 49:51
  Speaker 4: captain as of course too.
• 49:52
  Speaker 3: Yeah, that's mine, that's mine as well. He would have
• 49:55
  Speaker 3: been perfect for that role, absolutely perfect. He's got the gravitas,
• 50:00
  Speaker 3: he's got the voice to be that kind of fatherly figure.
• 50:03
  Speaker 3: But then also he can be sinister and turn it
• 50:06
  Speaker 3: on a dime.
• 50:07
  Speaker 2: Now I agree, I think course. So it's like you said,
• 50:11
  Speaker 2: tristan fatherly figure you want. You can't see the turn coming.
• 50:16
  Speaker 2: It has to be at the last hour or last
• 50:19
  Speaker 2: you know, last minute, because otherwise you're like looking at
• 50:22
  Speaker 2: this guy from the side. You know, it's enough that
• 50:25
  Speaker 2: he's not really we need some more scenes with like
• 50:28
  Speaker 2: him telling him about his father, Like man, we needed
• 50:32
  Speaker 2: that scene like right in the middle for to be
• 50:35
  Speaker 2: the turn that gets Kal to be on board with
• 50:38
  Speaker 2: this plan, but instead we just stuck with Yeah. If
• 50:42
  Speaker 2: I don't like the way things are going, I'm like
• 50:44
  Speaker 2: my dad, I'm out of here, and I'm like, okay, dude,
• 50:46
  Speaker 2: geez I could the teenage angst is radiating off of
• 50:51
  Speaker 2: your character? But all right, so yeah, awesome, Well we
• 50:55
  Speaker 2: have Captain Joseph Corso across the board. Doesn't happen very
• 50:59
  Speaker 2: long from here on house lights, but it's always cool
• 51:01
  Speaker 2: when it does, is our lance. Reddick pick John. Let's
• 51:06
  Speaker 2: start with you, gen xer as we keep saying.
• 51:09
  Speaker 1: Yes, but yeah, so what did what did you write this?
• 51:12
  Speaker 1: How did it?
• 51:13
  Speaker 2: Is your final thoughts on Titan Ee.
• 51:16
  Speaker 4: I'll be honest, it just doesn't gel. And while I
• 51:21
  Speaker 4: recognize the trailblazing attitude and the risk that they took,
• 51:27
  Speaker 4: and I would you know, I'd be terrible on a
• 51:30
  Speaker 4: company board because somebody would take a risk like this
• 51:32
  Speaker 4: and we take a financial bath, and I would say no,
• 51:36
  Speaker 4: but do you understand what we just did. We can't
• 51:40
  Speaker 4: punish people for taking risks. But then that's why I
• 51:44
  Speaker 4: wouldn't be on the board, is because that's exactly what
• 51:47
  Speaker 4: boards do, is punish people for taking risks. But all
• 51:51
  Speaker 4: that said, I think that this is a two and
• 51:55
  Speaker 4: it's a shame. I went into this and I said
• 51:59
  Speaker 4: to myself, I really want to love this. I want
• 52:02
  Speaker 4: this to be the movie where I go. I get it.
• 52:06
  Speaker 4: I've had the Christmas miracle, I get why Don Bluth
• 52:09
  Speaker 4: is so revered. And no, this wasn't it, man, this
• 52:14
  Speaker 4: was it too.
• 52:16
  Speaker 2: I mean, we didn't give actual numbers, but yeah, the
• 52:19
  Speaker 2: for a budget of around seventy five to Night at
• 52:23
  Speaker 2: ninety million dollars, it made thirty six point eight.
• 52:27
  Speaker 1: Yeah it hurts.
• 52:30
  Speaker 2: That's really bad.
• 52:32
  Speaker 4: And how much they marketed it easily They spent one
• 52:34
  Speaker 4: hundred million on this.
• 52:36
  Speaker 2: Oh yeah, easily. And and thirty of it is a
• 52:38
  Speaker 2: bath that they threw out and oh my gosh. Yeah yep,
• 52:43
  Speaker 2: all right, Tristan, yeah again you both of you guys
• 52:46
  Speaker 2: don't have that nostalgia factor at all with this movie.
• 52:49
  Speaker 2: So but yeah, final thoughts on Titan A.
• 52:53
  Speaker 3: I think this one. It's this is probably the movie
• 52:56
  Speaker 3: that I enjoyed the most besides Land Before Time, but
• 53:01
  Speaker 3: Land before Time I enjoyed mainly because of nostalgic factors,
• 53:05
  Speaker 3: because it makes me think of my sister because of
• 53:08
  Speaker 3: all the merchandise it came out and everything like that.
• 53:09
  Speaker 3: So I gave Land Before Time a three, which for
• 53:13
  Speaker 3: me means I liked it, but it has its issues.
• 53:15
  Speaker 3: With this one. This is straight down the middle, like,
• 53:18
  Speaker 3: this is a mediocre film. To me, this is two
• 53:21
  Speaker 3: and a half. I do not think it's this is
• 53:24
  Speaker 3: not a damning two and a half. This is just
• 53:26
  Speaker 3: it's just there. You know, It's just a movie that's there.
• 53:29
  Speaker 3: And that's unfortunate because they swung for the fences but
• 53:32
  Speaker 3: they missed. And you know, that's that's all I really
• 53:36
  Speaker 3: have to say about that. I think it's a non
• 53:38
  Speaker 3: judgmental down the middle two and a half.
• 53:41
  Speaker 2: Oh, it's our whole podcast is about judging these films twisted.
• 53:45
  Speaker 2: Don't say it's not. It's literally why people tune in. Yeah. No,
• 53:50
  Speaker 2: I this was a fun discussion because again, you guys
• 53:54
  Speaker 2: came into it fresh. You know, I had a bit
• 53:56
  Speaker 2: of nostalgia with it. I think I tried to temper
• 53:58
  Speaker 2: your expectations a little last week as we were wrapping up,
• 54:01
  Speaker 2: I'm like, okay, guys, like I'm not saying this one's
• 54:05
  Speaker 2: gonna blow you out of the water, but I enjoyed it,
• 54:08
  Speaker 2: so yeah, I think the technical aspect, I really saw
• 54:13
  Speaker 2: it this time, Like I don't think i've seen I
• 54:15
  Speaker 2: probably watched this once or twice after it came out
• 54:18
  Speaker 2: in the intervening years, so it has it's been a while,
• 54:21
  Speaker 2: but yeah, and man, the nostalgia of those music videos
• 54:27
  Speaker 2: like hit Me. I was like, oh, I feel like
• 54:30
  Speaker 2: I'm you know, I don't even have a cell phone
• 54:32
  Speaker 2: yet we got dial up internet like I was right
• 54:36
  Speaker 2: back in two thousand, so hard in the middle of this,
• 54:40
  Speaker 2: like that was strong. Honestly, it's it's bumping it up
• 54:43
  Speaker 2: a whole star, the nostalgia. It really is because while well,
• 54:48
  Speaker 2: it has its issues, and we referenced a lot of
• 54:51
  Speaker 2: other movies that kind of did this better in this era.
• 54:56
  Speaker 2: It's not the Disney killer they wanted. It's not, you know,
• 54:59
  Speaker 2: anything like that. But I love it for what it is.
• 55:03
  Speaker 2: I'm glad it existed. I'm glad. I mean it built,
• 55:07
  Speaker 2: you know, illumination and blue sky like all kind of
• 55:12
  Speaker 2: came after this, like it was. Unfortunately as don Don's
• 55:18
  Speaker 2: Trett Don's focus throughout this whole house has been clinging
• 55:25
  Speaker 2: to animation, like a in a death grip and in
• 55:31
  Speaker 2: this one, maybe it would have been better as a
• 55:34
  Speaker 2: fully CG picture. I doubt it. I honestly think that,
• 55:38
  Speaker 2: you know, if you tried to take these characters and
• 55:40
  Speaker 2: in two thousand animation style animate them, I think it
• 55:44
  Speaker 2: would look like so deep in the Uncanny Valley, you
• 55:48
  Speaker 2: would turn off your television. So I think that the
• 55:51
  Speaker 2: visuals worked well.
• 55:52
  Speaker 3: Spirits within fantasy, yeah yeah.
• 55:57
  Speaker 2: Or right around here was a polar Express. I think
• 56:00
  Speaker 2: too is not too far off off this. But all
• 56:04
  Speaker 2: that to say, I'm giving the A three. Then one
• 56:06
  Speaker 2: of those stars is definitely a nostalgia star, and I'm
• 56:10
  Speaker 2: okay with that, Like it's and and it takes me through.
• 56:13
  Speaker 2: I went from three to two to two to one
• 56:16
  Speaker 2: to three, Like I can't. I can't give this A two.
• 56:18
  Speaker 2: I enjoy it enough. I think I'll show it to
• 56:21
  Speaker 2: my kids. I think they would enjoy just the the
• 56:24
  Speaker 2: the alien design, you know, the fun. I know my
• 56:28
  Speaker 2: son would be bouncing off the walls when they're being
• 56:30
  Speaker 2: chased by the ships. Anytime there's like anything actiony like that,
• 56:34
  Speaker 2: he'd be like, oh my gosh, you know, as he's
• 56:36
  Speaker 2: going through the testicle field. But but yeah, so we
• 56:43
  Speaker 2: have three two and a two point five. I think
• 56:45
  Speaker 2: that's very fair for this movie. It really is. But
• 56:49
  Speaker 2: at the end of the day, it's been a really
• 56:51
  Speaker 2: fun House of Don Bluth.
• 56:54
  Speaker 3: We're gonna say we're we're doing something fun next week.
• 56:57
  Speaker 2: Oh yes, oh fun, We're switching it up. Uh yeah,
• 57:02
  Speaker 2: this was a little bit of a rough house. I
• 57:03
  Speaker 2: think we gave it a fair shake, but we're ready.
• 57:07
  Speaker 3: To return to I don't know if John is going
• 57:10
  Speaker 3: to forgive you, Darren, because Darren, this for listeners. This
• 57:13
  Speaker 3: was Darren's idea to do a House of Bluth, and
• 57:15
  Speaker 3: I don't think John is going to forgive you.
• 57:18
  Speaker 2: And we all voted and we said yes, okay, so I'm.
• 57:21
  Speaker 3: Gonna well, hold on, no, no, no, nolaws.
• 57:24
  Speaker 4: I'm going to bring up the bylaws here. And I
• 57:26
  Speaker 4: reminded Tristan the bylaws all remind you of the bylaws
• 57:28
  Speaker 4: this time, Darren that anytime I dislike something in the bylaws,
• 57:33
  Speaker 4: it must be blamed on you. Tristan could recommend something
• 57:36
  Speaker 4: right now and it goes terribly wrong by the bylaws,
• 57:38
  Speaker 4: I have to blame you.
• 57:39
  Speaker 2: The bylaws that says I always have to go first
• 57:42
  Speaker 2: when giving the ratings unless I'm hosting.
• 57:46
  Speaker 3: Only John and I have copies of the The bylaws
• 57:50
  Speaker 3: are hidden on a ring that's genetically coded to our hands,
• 57:53
  Speaker 3: and they show up on our hands when we look
• 57:55
  Speaker 3: at them.
• 57:56
  Speaker 2: But look, it's okay, you totally left the control room.
• 58:00
  Speaker 2: It's totally fine. Not like we can't start the podcast
• 58:03
  Speaker 2: without you. Save Humanity. Nope, I think you didn't die
• 58:06
  Speaker 2: in your little space gondola in the last second end
• 58:10
  Speaker 2: of the movie. Okay, we know were done. We're done
• 58:13
  Speaker 2: with Titan and Don all right, but yeah, next week
• 58:17
  Speaker 2: we are going to an American classic. It's the holiday seasons, guys.
• 58:21
  Speaker 2: We want to watch some Christmas movies. We want to
• 58:24
  Speaker 2: enjoy ourselves, have a fun talk around the campfire. So
• 58:28
  Speaker 2: next week we're going back to nineteen fifty four with
• 58:33
  Speaker 2: white Christmas here on house lights. Join the Revolution, Join
• 58:39
  Speaker 2: the Ned Party.