Latest / The Kulturecast / The Anderson Tapes (1971) — "What's advertising but a legalized con game?"

Transcript

The Anderson Tapes (1971) — "What's advertising but a legalized con game?" · The Kulturecast

• 0:04
  Speaker 1: Weird wea m.
• 0:44
  Speaker 2: Three thirty four pm.
• 0:47
  Speaker 3: I'm gonna scribe the.
• 0:48
  Speaker 2: Mill Caucasi House, Internal Security Committee Surveillance eighty two sevente
• 0:52
  Speaker 2: T forty one. I'm trying to revenue service aveillance pat
• 1:07
  Speaker 2: Angelo case six four two d Z seventy one three.
• 1:12
  Speaker 4: Someone is listening. Okay, someone is watching.
• 1:35
  Speaker 5: Everlease of Allance, July sixteenth, four forty five pm.
• 1:40
  Speaker 3: What sort of people live?
• 1:42
  Speaker 1: Oh, we have a variety.
• 1:43
  Speaker 6: There's a fag decorator upstairs and a doctor downstairs, all
• 1:48
  Speaker 6: though they say he's an abortionist.
• 1:50
  Speaker 7: They're all loaded for.
• 1:53
  Speaker 8: You know what I'm gonna do.
• 1:55
  Speaker 9: I let the back up a moving environment.
• 1:56
  Speaker 4: Then I still look at sort of the whole place.
• 2:00
  Speaker 8: To bridge some burglar arms, open doors, got some telephone circuits.
• 2:04
  Speaker 4: I got a job, laid out, eat a good driver
• 2:06
  Speaker 4: with a cool head. I want schedules or services.
• 2:10
  Speaker 8: I want hours and names of mad Storm and Janet
• 2:14
  Speaker 8: who works?
• 2:16
  Speaker 10: Come to take it at your hogs and not a
• 2:19
  Speaker 10: moment too.
• 2:19
  Speaker 9: So what do you think?
• 2:25
  Speaker 4: I think?
• 2:25
  Speaker 1: That states?
• 2:27
  Speaker 4: What are we screwing around with stuff like this?
• 2:30
  Speaker 2: Even if he scores, it's less than one week's taking
• 2:33
  Speaker 2: our worst horse room.
• 2:35
  Speaker 5: Someone is listening someone is watching.
• 2:40
  Speaker 9: This guy's more than muscle. You know it's gotta be
• 2:42
  Speaker 9: move laid out. It's like a military operation.
• 2:45
  Speaker 4: Oh you okay to deal.
• 2:49
  Speaker 5: I'll give you the money, but the finance we want
• 2:51
  Speaker 5: sixty four. Everyone knows it's an improbable crime. Yet Duke
• 3:01
  Speaker 5: Anderson may pull off the impossible.
• 3:05
  Speaker 3: Yes, what the hell is.
• 3:28
  Speaker 9: The best seller?
• 3:28
  Speaker 1: That bug?
• 3:29
  Speaker 5: The world of crime unreels its power on the screen.
• 3:38
  Speaker 6: Well, every one, and welcome to the culture Cast. I
• 3:40
  Speaker 6: am your host, Christashio, and I am joined by my
• 3:42
  Speaker 6: two good friends, all the way from well, all the
• 3:45
  Speaker 6: way from the Big Apple. He is the menace from
• 3:48
  Speaker 6: the Bronx, your friend of mine, Colin Gallagher, not the Bronx.
• 3:52
  Speaker 5: But I live in Brooklyn. Nothing nothing, nothing against the Bronx.
• 3:55
  Speaker 5: I would I would love to live in the Bronx
• 3:57
  Speaker 5: or you know, most most most Burrows. But no, no,
• 4:01
  Speaker 5: no Bronx.
• 4:02
  Speaker 4: I'm Brooklyn.
• 4:03
  Speaker 6: Colin does not rumble in the Bronx with Jackie Chan unfortunately.
• 4:06
  Speaker 1: Uh.
• 4:07
  Speaker 6: And all the way, Mike, and all the way from
• 4:09
  Speaker 6: the projection booth. If you're here for Mike White, may
• 4:11
  Speaker 6: this is the reason you're here, Your friend of mine, Mike.
• 4:14
  Speaker 9: White, America. Man, you know, it's so beautiful. I want
• 4:17
  Speaker 9: to eat it, Chris.
• 4:20
  Speaker 6: On this episode of the show, we are continuing Mike
• 4:23
  Speaker 6: White May with another Sean Connery film. This is another
• 4:27
  Speaker 6: Sidney Lumet film. They're sitting Mike at the back of
• 4:30
  Speaker 6: the room watching us pronounce it every time, now, every
• 4:35
  Speaker 6: fucking time. Now, I'm like afraid that someone's just gonna
• 4:37
  Speaker 6: come in from camera right and take me away if
• 4:40
  Speaker 6: I say it wrong.
• 4:40
  Speaker 7: We are talking.
• 4:41
  Speaker 6: About yet another Sean Connery and Sidney Lumett film with
• 4:45
  Speaker 6: the Anderson tapes. So the film is directed by Sidney Lumett.
• 4:49
  Speaker 6: It was released in nineteen seventy one, based on a
• 4:51
  Speaker 6: screenplay by Frank Pearson based on the book of the
• 4:54
  Speaker 6: same name by Lawrence Sanders. It stars Sean Connery as
• 4:58
  Speaker 6: the titular John and Duke Anderson, a safecracker who well,
• 5:03
  Speaker 6: you know, he just wants to do one more job.
• 5:05
  Speaker 6: Just one more job, guys, but maybe not just one
• 5:07
  Speaker 6: more job, but another job. Because you can't keep a
• 5:10
  Speaker 6: good safe cracker down. He moves in with his girlfriend Squeeze.
• 5:14
  Speaker 6: According to Ralph Separetto and the Sopranos, Oh possibly, and
• 5:19
  Speaker 6: he decides, Hey, it's time to burgle the building she
• 5:22
  Speaker 6: lives in because it's full of rich people, and things
• 5:25
  Speaker 6: go awry from essentially moment one, and there's a lot
• 5:28
  Speaker 6: of surveillance as well, with the title the Anderson Tapes
• 5:31
  Speaker 6: factoring into a lot of the framing devices and just
• 5:34
  Speaker 6: a lot of the themes of the film. So, Mike,
• 5:37
  Speaker 6: since you did program the month, I am going to
• 5:39
  Speaker 6: kick it to you first. Why the Anderson Tapes and
• 5:43
  Speaker 6: what did you think?
• 5:44
  Speaker 9: Well, I don't hear a lot of discourse about the
• 5:47
  Speaker 9: Anderson Tapes. And I saw this one when I was younger,
• 5:51
  Speaker 9: and I just remember it being really solid, and this
• 5:55
  Speaker 9: I don't remember the very first time that I saw
• 5:58
  Speaker 9: it might have been one of the first film that
• 6:00
  Speaker 9: I really kind of keyed into the whole idea of
• 6:03
  Speaker 9: a nonlinear narrative. I really like the way that the
• 6:06
  Speaker 9: story is told, and I also really like the soundtrack.
• 6:11
  Speaker 9: Can we call it a soundtrack because it's kind of soundtrack,
• 6:13
  Speaker 9: but it's also a lot of electronic noise.
• 6:16
  Speaker 7: It's Quincy Jones is what it is.
• 6:17
  Speaker 9: Maybe, Yeah, And I just kind of dig it. I
• 6:21
  Speaker 9: just kind of dig these noises that they're using and
• 6:25
  Speaker 9: especially when they kind of use them for cutting and everything.
• 6:29
  Speaker 9: And yeah, I really just dig this film a lot
• 6:33
  Speaker 9: and was super excited just to talk about it with y'all.
• 6:36
  Speaker 7: What about you, Colin.
• 6:37
  Speaker 5: I saw this maybe ten or twelve years ago. I
• 6:41
  Speaker 5: was on a Diane Cannon kick, and I know the
• 6:45
  Speaker 5: version I saw was the Martini Movies DVD release, which
• 6:51
  Speaker 5: makes her look like a swing in sixties movie.
• 6:54
  Speaker 4: And yet I.
• 6:55
  Speaker 5: Knew it was like two years I knew it. I
• 6:58
  Speaker 5: knew Citny Limette's movies like Cirproco and Dog Day Afternoon,
• 7:02
  Speaker 5: and I was like.
• 7:03
  Speaker 4: What am I going to be getting?
• 7:04
  Speaker 5: Am I going to be getting a Thomas Crown Affair movie,
• 7:07
  Speaker 5: which is sort of what they're advertising, or am I
• 7:09
  Speaker 5: going to get this sort of dark revisionist crime flick
• 7:12
  Speaker 5: that I know Lumet for. And it really is closer
• 7:16
  Speaker 5: to the sort of revisionist stuff that he's known for later,
• 7:20
  Speaker 5: and I quite like it. It's fits more in with
• 7:24
  Speaker 5: like Hicky and Bogs and Long Goodbye, and especially like
• 7:28
  Speaker 5: Robert Aldrich's Hustle, sort of a darker take on you know,
• 7:34
  Speaker 5: a genre you think you know, and this is a
• 7:36
  Speaker 5: movie that does not give you what do you expect.
• 7:39
  Speaker 6: Mike, you mentioned that there's not a lot of discourse
• 7:41
  Speaker 6: around this film, and I would go as far as
• 7:45
  Speaker 6: to say, and you know, correct me if I'm wrong, gentlemen,
• 7:47
  Speaker 6: we all three are pretty dialed into the film world
• 7:50
  Speaker 6: in Hollywood or however you want to describe it. There's
• 7:53
  Speaker 6: not a lot of discourse around Sean Connery as an
• 7:56
  Speaker 6: actor outside of Bond. I mean, this is not something
• 7:58
  Speaker 6: that like and Mike, you know, we talked about it
• 8:00
  Speaker 6: on in the last episode with the Hill. Some of
• 8:02
  Speaker 6: the films like Outland in the seventies and eighties, and
• 8:04
  Speaker 6: obviously Sean Connery has passed is long long passed away
• 8:07
  Speaker 6: at this point. I mean, what we're looking at like
• 8:10
  Speaker 6: six going on six years now. He passed away right
• 8:12
  Speaker 6: at the beginning of the pandemic, and he was he
• 8:15
  Speaker 6: had stepped out of film. God, what a decade at
• 8:19
  Speaker 6: least before that. I know, his technical last film was
• 8:22
  Speaker 6: League of Extraordinary Gentleman. And and you know there was
• 8:25
  Speaker 6: that film he did in twenty twelve where he's a
• 8:27
  Speaker 6: skateboarding veterinarian. It's an animated film. It sounds insane. I
• 8:33
  Speaker 6: just haven't heard a lot of discourse around the things
• 8:36
  Speaker 6: that Sean Connery has done outside of Bond, and having
• 8:40
  Speaker 6: watched The Hill on the last episode and watching the
• 8:43
  Speaker 6: Anderson tapes on this one, I feel like that's such
• 8:45
  Speaker 6: a missed opportunity because Sean Connery is such a good actor.
• 8:50
  Speaker 6: I mean, we we just we essentially just wrapped up
• 8:53
  Speaker 6: ranking on Bond, which was before this, the last thing
• 8:56
  Speaker 6: I watched Sean Connery in because again, like I just
• 8:59
  Speaker 6: don't go to the movies he was in outside of
• 9:02
  Speaker 6: the Bond Ones, not for any reason other than just
• 9:04
  Speaker 6: that's just the way it is. And frankly, the only
• 9:06
  Speaker 6: Connery film I can think of that I watch with
• 9:08
  Speaker 6: any sort of regularity or frequency is the Third Bond.
• 9:11
  Speaker 6: A Third Bond, the third Indiana Jones film Steven Spielberg
• 9:15
  Speaker 6: presents James Bond, and for me, like, Connery's great in
• 9:19
  Speaker 6: that movie, but that's like Connery of very old. I
• 9:22
  Speaker 6: mean again not really that old, but in terms of
• 9:25
  Speaker 6: like where we are here or even with something like
• 9:28
  Speaker 6: James Bond. So I think it's interesting that the discourse
• 9:31
  Speaker 6: around Sean Connery as an actor isn't more and I
• 9:34
  Speaker 6: wonder why that is. I mean, I have my ideas
• 9:38
  Speaker 6: and suspicions why. But with something like this, I mean again,
• 9:41
  Speaker 6: it's just another entry in my mind into what I
• 9:44
  Speaker 6: consider to be a burgeoning for me, like Snowball down
• 9:48
  Speaker 6: a Hill of Sean Connery is a really really, really
• 9:51
  Speaker 6: really good actor, even though he's not classically trained, which
• 9:55
  Speaker 6: is the crazy part because if you do the research
• 9:57
  Speaker 6: about him, he's not Adulton, who is a shakespeare An actor.
• 10:01
  Speaker 6: I mean, Dalton carries himself like an actor with a
• 10:03
  Speaker 6: capital A. Nothing wrong with that obviously, but Connery is
• 10:08
  Speaker 6: more of a all of well, Oliver Reed type. But
• 10:10
  Speaker 6: he's like a working man's type, and for me, I
• 10:14
  Speaker 6: love the appeal of that. And that's like a that's
• 10:17
  Speaker 6: such like a rare thing that just doesn't happen anymore.
• 10:19
  Speaker 6: And it's not because it can't happen, it's just the
• 10:21
  Speaker 6: channels are different and it looks different. But I just
• 10:25
  Speaker 6: really love Sean Connery as an act and I outside
• 10:28
  Speaker 6: of Bond. And again, he's great in Bond, don't get
• 10:31
  Speaker 6: me wrong, but they hired him to be Bond because
• 10:34
  Speaker 6: he was a great actor, and getting to see it now,
• 10:37
  Speaker 6: like he's just he's fantastic in this movie in a
• 10:40
  Speaker 6: movie that is otherwise just it's not a bad movie
• 10:43
  Speaker 6: per se, but it doesn't really in a lot of
• 10:45
  Speaker 6: ways like move the needle in the ways that it should,
• 10:47
  Speaker 6: because it feels it feels like they just don't want
• 10:50
  Speaker 6: to go all the way like a Parallax view does
• 10:53
  Speaker 6: or a Blowout, which are similar in themes of like
• 10:56
  Speaker 6: suspicion around being surveilled or surveillance. It's like those movies
• 11:00
  Speaker 6: have more to say than this one, which is why
• 11:02
  Speaker 6: it's probably kind of been lost in the mix. But
• 11:04
  Speaker 6: the Sean Connery of it all makes it interesting. It
• 11:07
  Speaker 6: makes it more novel, I guess, and hey, like Mike
• 11:10
  Speaker 6: quoted at the beginning of the episode, though he didn't
• 11:12
  Speaker 6: do the accent, it's got Christopher Walkin and he's not
• 11:15
  Speaker 6: doing the Walkin thing obviously, because this is the first
• 11:19
  Speaker 6: ever feature film debut of Walkin, but it's nice to
• 11:22
  Speaker 6: see him and it is ironic where Walkin will end
• 11:25
  Speaker 6: up in terms of the James Bond franchise that him
• 11:28
  Speaker 6: and Connery share a film together, and it's Walkin's first film.
• 11:33
  Speaker 6: So because I want to say, for me, that may
• 11:35
  Speaker 6: have been the first thing I ever saw Christopher walking
• 11:37
  Speaker 6: in was a view to a kill. So you know,
• 11:40
  Speaker 6: it's just it's a lot of interesting connections. But I
• 11:43
  Speaker 6: enjoyed the film immensely and I'm excited to talk about
• 11:45
  Speaker 6: it with y'all. But it is definitely, like you said, Mike,
• 11:49
  Speaker 6: one that had not heard anybody talking about, which is
• 11:52
  Speaker 6: a shame because it's really it's a fun movie.
• 11:54
  Speaker 5: Well, Chris, you were comparing it to Parallax View. And
• 11:58
  Speaker 5: what I think is so interesting about this movie coming
• 12:00
  Speaker 5: out in seventy one is that it's, you know, right
• 12:04
  Speaker 5: on the cusp of you know, the whole wave of
• 12:06
  Speaker 5: sort of cynical seventies movies. This is still pre Watergate,
• 12:10
  Speaker 5: and yet there's still these you know, I can understand,
• 12:13
  Speaker 5: you know, from a producer's perspective trying to sell this
• 12:16
  Speaker 5: to a studio. It's, you know, the sixties just ended.
• 12:19
  Speaker 5: There's just enough elements that make it seem like it
• 12:22
  Speaker 5: could be this sort of you know, the last you know,
• 12:25
  Speaker 5: gleam of like classic Hollywood where it's not quite into
• 12:29
  Speaker 5: the seventies yet, and this movie seems right on the cusp.
• 12:32
  Speaker 5: There's elements that you can see it coming out a
• 12:34
  Speaker 5: few years before, and it's really hinting at what's going
• 12:37
  Speaker 5: to be coming in the next few years.
• 12:39
  Speaker 9: I mean this was released one year to the day
• 12:43
  Speaker 9: before the our Date breakout, but it really just presageous
• 12:47
  Speaker 9: so much about the surveillance state, and I'm just so curious,
• 12:52
  Speaker 9: like where did Sanders get this idea? And you know what,
• 12:57
  Speaker 9: what was the state of the world at that time.
• 12:59
  Speaker 9: I was doing a little uh digging into like just
• 13:02
  Speaker 9: surveillance in film, and of course, like you know, I
• 13:06
  Speaker 9: actually did what I love to do. I created a
• 13:08
  Speaker 9: little chart and I was looking at it and just like, okay, uh,
• 13:12
  Speaker 9: before nineteen seventy, there really wasn't a whole lot of
• 13:15
  Speaker 9: surveillance in film. Then after Watergate you start to see
• 13:19
  Speaker 9: a lot of you know rising, and then after you
• 13:22
  Speaker 9: know something like you know, the Internet, then it starts
• 13:25
  Speaker 9: to go up. And then nine to eleven happens, It
• 13:27
  Speaker 9: really goes up, and then the Patriarch happened, Patriot Act happens,
• 13:30
  Speaker 9: It really goes up, and then it started to come
• 13:33
  Speaker 9: down over the years, but it is definitely at a
• 13:35
  Speaker 9: plateau that is way higher than we were way back
• 13:39
  Speaker 9: in the seventies with this stuff. And it worked. No. No,
• 13:44
  Speaker 9: I was just going to say it's it's so fascinating too.
• 13:46
  Speaker 9: And I don't think because when we hear the or
• 13:50
  Speaker 9: I listened to the book, but when we read the
• 13:52
  Speaker 9: book or listen to the book, I don't think they
• 13:54
  Speaker 9: go into all of the stuff that is happening. It
• 13:56
  Speaker 9: seems like it's more related to the mob and just
• 14:00
  Speaker 9: keeping tabs on the mob. But then when you're watching
• 14:03
  Speaker 9: the movie, one of the most major things is that
• 14:06
  Speaker 9: they're watching this Black Panthers headquarters, So it goes into
• 14:10
  Speaker 9: that whole government thing that was going on where they're
• 14:14
  Speaker 9: keeping tabs on all the quote unquote radicals, and it's like, yeah,
• 14:18
  Speaker 9: just because the guy lives above a Black Panther headquarters,
• 14:24
  Speaker 9: that's how they get kind of on the radar. And
• 14:26
  Speaker 9: just like all of these different ways that people are
• 14:29
  Speaker 9: being recorded or having their picture taken, Like I love
• 14:32
  Speaker 9: when he's trying to get that ID and the woman
• 14:34
  Speaker 9: just pulls up the camera shoots them right in the
• 14:36
  Speaker 9: face and you see the frightened expression on his face
• 14:41
  Speaker 9: or the startled expression, and it's just like there's no
• 14:44
  Speaker 9: like say geez, she's just like boo, I'm taking a
• 14:46
  Speaker 9: picture of you now. And it is all without permission.
• 14:49
  Speaker 9: Like he's lived. Probably jail was as panopticon as it
• 14:56
  Speaker 9: is outside of that, and just every single move that
• 14:59
  Speaker 9: he makes being recorded in some way.
• 15:01
  Speaker 5: So do you You asked her earlier about Laurence Sanders.
• 15:05
  Speaker 4: Yes, he worked for let me.
• 15:08
  Speaker 5: Get the name of the magazine, right, Mechanics Illustrated and
• 15:12
  Speaker 5: Science and Mechanics, So he was familiar with this technology
• 15:17
  Speaker 5: from that, and this was his debut novel. He had
• 15:20
  Speaker 5: already been I think he was fifty when it came out.
• 15:24
  Speaker 5: He already had a long career as a magazine writer
• 15:26
  Speaker 5: and editor.
• 15:28
  Speaker 4: But yeah, Mike, you're you're right.
• 15:29
  Speaker 5: I think what's fascinating in the book is that each
• 15:33
  Speaker 5: chapter is organized by a surveillance and it all begins
• 15:39
  Speaker 5: with why these locations are under surveillance, and it's all
• 15:43
  Speaker 5: because of crimes that have almost nothing to do with
• 15:47
  Speaker 5: Duke Anderson. All of these taps are already in place,
• 15:50
  Speaker 5: and you know, to me, that's what's really fascinating from
• 15:54
  Speaker 5: like a postmodern perspective, is that none of these taps
• 15:57
  Speaker 5: were actually trying to capture this story. They were trying
• 16:00
  Speaker 5: to do something else, right, It's only after Duke, you know,
• 16:04
  Speaker 5: tried to do this heist that they actually put together
• 16:07
  Speaker 5: the uh you know, they connected the dots and a
• 16:10
  Speaker 5: big difference. This is jumping ahead too much, but the
• 16:14
  Speaker 5: book ends with somebody saying that if only these you know, institutions,
• 16:19
  Speaker 5: you know, we're talking to each other, because it was
• 16:22
  Speaker 5: all different you know, different police organizations or the government
• 16:25
  Speaker 5: doing these surveillance. But somebody says, if only we had
• 16:28
  Speaker 5: been talking to each other, then we could really we
• 16:31
  Speaker 5: could have prevented the crime. And that is not how
• 16:33
  Speaker 5: the movie ends. And I don't want to jump too
• 16:36
  Speaker 5: far ahead, but I think the movie gives a much
• 16:39
  Speaker 5: bleaker and cynical, you know, perspective on technology.
• 16:43
  Speaker 9: Yeah, it's wondering about that. Throughout the book. I was
• 16:46
  Speaker 9: just like, are these Is this a collection of transcripts
• 16:51
  Speaker 9: and files and letters and just all of these pieces
• 16:54
  Speaker 9: of evidence? Is this is just a random not random,
• 16:56
  Speaker 9: but a collection that happened after the fact.
• 16:59
  Speaker 7: Well, a pistolary novel, yeah, I mean.
• 17:02
  Speaker 5: Right right, Well, there's a there's a fake introduction where
• 17:05
  Speaker 5: the author claims that he's on leave from a New
• 17:09
  Speaker 5: Jersey newspaper that doesn't exist. And this is like a
• 17:12
  Speaker 5: follow up from looking at book reviews at the time,
• 17:15
  Speaker 5: nobody was fullL linked.
• 17:17
  Speaker 9: No, no, but.
• 17:21
  Speaker 5: Say to your point, though, Mike, today we look at
• 17:24
  Speaker 5: this and it's so much about the surveillance, And to
• 17:27
  Speaker 5: Chris's point, the surveillance is far more interesting than the
• 17:30
  Speaker 5: plot is.
• 17:31
  Speaker 4: The plot is basically like a.
• 17:33
  Speaker 5: Lionel White type of height scenario, like clean break or
• 17:38
  Speaker 5: you know, a Burnett would have done an asphalt jungle.
• 17:40
  Speaker 5: But it is the surveillance that is so far ahead
• 17:44
  Speaker 5: of its time. But reviewers at the time actually thought it.
• 17:46
  Speaker 4: Was a bit of a gimmick.
• 17:48
  Speaker 5: They didn't seem perturbed by the fact that there are
• 17:51
  Speaker 5: all these institutions recording us and the implications of that.
• 17:55
  Speaker 9: Right. Well, you no, it's really funny for me, sorry,
• 17:58
  Speaker 9: just real quick, is you know, talking about like the
• 18:00
  Speaker 9: Patriot Act and things like that. It's like the whole
• 18:04
  Speaker 9: thing about nine to eleven is, yeah, we knew this
• 18:07
  Speaker 9: little part of it, and this agency knew this little
• 18:09
  Speaker 9: part of it, and this agency knew this, and nobody
• 18:11
  Speaker 9: fucking worked together. And so to me, and I don't
• 18:15
  Speaker 9: think people talk about this nearly as much, but to me,
• 18:17
  Speaker 9: it was like one of the greatest fuck ups of
• 18:19
  Speaker 9: all fuck ups when it comes to or to put
• 18:21
  Speaker 9: in Saddam Hussein terms, it was the mother of all
• 18:23
  Speaker 9: fuck ups when it comes to just the lack of
• 18:26
  Speaker 9: communication between all these different agencies. And here we have
• 18:29
  Speaker 9: the exact same thing happening in nineteen sixty eight when
• 18:33
  Speaker 9: the book comes out. It was pretty pretty close to
• 18:36
  Speaker 9: when the movie happened, I want to say.
• 18:38
  Speaker 4: And I got it right in front of me.
• 18:41
  Speaker 5: Nineteen seventy the book with the rights to the book
• 18:44
  Speaker 5: were sold before it ever came out.
• 18:47
  Speaker 9: That's pretty amazing. And this is, like you said, this
• 18:49
  Speaker 9: is what the first novel that Sanders writes, and this
• 18:53
  Speaker 9: is before the First Deadly Sin, which I remember even
• 18:57
  Speaker 9: you know, as I was born a year before the
• 18:59
  Speaker 9: First the Sin came out. But it was such a
• 19:02
  Speaker 9: big book that I still knew about that that book
• 19:04
  Speaker 9: when I was growing up.
• 19:05
  Speaker 5: Yeah, he did very well from this. I think the
• 19:07
  Speaker 5: paperback rights sold for six figures, so that doesn't include
• 19:11
  Speaker 5: the hardcover or the movie rights.
• 19:14
  Speaker 7: Wow, so you've tuck the words right out of my mouth.
• 19:17
  Speaker 5: Mike.
• 19:17
  Speaker 6: With the nine to eleven and Colin, you had said,
• 19:19
  Speaker 6: like the ending of the movie is bleaker than the book.
• 19:22
  Speaker 7: I don't. I kind of disagree.
• 19:25
  Speaker 6: Because I feel like the ending of the book being
• 19:27
  Speaker 6: if only we could all communicate, then we'd figure it out,
• 19:30
  Speaker 6: is so bleak because it's still happening now, like it's
• 19:33
  Speaker 6: it's it's just like the logical conclusion of the really
• 19:37
  Speaker 6: fucked up dystopia we live in, Like the most boring
• 19:40
  Speaker 6: dystopia possible is the three Agent the three Letter agencies.
• 19:43
  Speaker 6: If they worked together, they could actually get something done,
• 19:46
  Speaker 6: but because they can't, because they're human, they don't. It's
• 19:49
  Speaker 6: like that's really awful, like cause again they could have,
• 19:53
  Speaker 6: but they just don't, you know. I think I think
• 19:56
  Speaker 6: I enjoyed the book more than the movie interesting. But
• 19:59
  Speaker 6: I also think that's it's because the book. I think
• 20:01
  Speaker 6: just the presentation of the book is just I jive
• 20:05
  Speaker 6: with that a lot more, where it's like we're trying
• 20:07
  Speaker 6: to do something real and there's these notes between people
• 20:10
  Speaker 6: like it. I think it's just I don't know, the
• 20:12
  Speaker 6: movie just kind of over explains like everything because it
• 20:16
  Speaker 6: has to, you know what I mean, Like it's just
• 20:18
  Speaker 6: I don't know. The movie just I feel like, for
• 20:20
  Speaker 6: as much as I enjoyed the movie, I think the
• 20:22
  Speaker 6: book is a more interesting thing because of what it's
• 20:25
  Speaker 6: trying to do in seventy one that's not really like
• 20:27
  Speaker 6: a thing as much as it is now where we're
• 20:29
  Speaker 6: trying to like, let's lean into this being a real thing.
• 20:33
  Speaker 6: And I found these tapes and it's like that to
• 20:35
  Speaker 6: me is more interesting than the movie just being like
• 20:37
  Speaker 6: a narrative. Though I will say the parts of the
• 20:39
  Speaker 6: movie that are interesting are when it breaks it up
• 20:41
  Speaker 6: by doing interesting things in relation to the surveillance, which
• 20:44
  Speaker 6: the entire book, the whole point of the book setup
• 20:47
  Speaker 6: is to lean into the surveillance of it all. I'm
• 20:49
  Speaker 6: much more interested in the surveillance of it all than
• 20:51
  Speaker 6: anything else with the movie. But that's maybe a benefit
• 20:54
  Speaker 6: to the movie that it has both things in it.
• 20:56
  Speaker 6: It's not just a crime movie. It's a crime movie
• 20:59
  Speaker 6: with this kind of weird framing of a Again, like there,
• 21:03
  Speaker 6: it doesn't do it enough in the movie, the surveillance
• 21:05
  Speaker 6: stuff in terms of like really addressing it head on.
• 21:09
  Speaker 7: It does it kind of more at the end of
• 21:10
  Speaker 7: the movie more than anywhere else.
• 21:12
  Speaker 9: I don't know, it feels like there's a lot. To
• 21:14
  Speaker 9: me anyway, my impression was that there's a lot of
• 21:17
  Speaker 9: the surveillance, you know, him noticing all the cameras and things,
• 21:20
  Speaker 9: and we're only like fifteen minutes into the movie when
• 21:24
  Speaker 9: we meet the Alan King character. Kind of interesting. I
• 21:28
  Speaker 9: didn't know what a regular Alan King was. When it
• 21:31
  Speaker 9: comes to Sydney Lamett that he was in at least
• 21:34
  Speaker 9: four of the Met films, and then Connery was in
• 21:37
  Speaker 9: what at least four as well, But like, of all people,
• 21:40
  Speaker 9: Alan King just keeps showing up in these movies. But
• 21:44
  Speaker 9: like that's the first time that the movie kind of
• 21:46
  Speaker 9: stops and we go to the people that are actually
• 21:48
  Speaker 9: listening to the tape, so again kind of playing with time,
• 21:51
  Speaker 9: which I like as far as like, well, obviously this
• 21:54
  Speaker 9: has them listening to it has to be happening in
• 21:56
  Speaker 9: the future. But now we're you know, we're moving from
• 21:59
  Speaker 9: our present the future or is that the present? And
• 22:01
  Speaker 9: I just kind of like the way that they play
• 22:03
  Speaker 9: with that. And again it's like, Okay, who is this
• 22:06
  Speaker 9: Duke Anderson that is showing up? We're gonna pay attention
• 22:08
  Speaker 9: to him. No, it seems like a small fry kind
• 22:11
  Speaker 9: of thing, and it's just like, all right, you know,
• 22:12
  Speaker 9: eventually this is gonna become much bigger, and it really
• 22:16
  Speaker 9: it's like until that kid gets on the radio. Nobody's
• 22:19
  Speaker 9: taking any of this stuff seriously.
• 22:21
  Speaker 5: What's interesting Also in the opening scene, he's watching footage
• 22:26
  Speaker 5: of himself exactly with that old tube camera. I love it,
• 22:30
  Speaker 5: And that's not in the book, right, And I think
• 22:33
  Speaker 5: Connery's character Duke Anderson, that's changed. They don't seem the
• 22:37
  Speaker 5: same to me from the book to the screen. I
• 22:39
  Speaker 5: feel like Frank Pearson, you know, when I realized, like, oh,
• 22:43
  Speaker 5: this is the guy who wrote cool Hand, Luke. That
• 22:45
  Speaker 5: makes so much more sense in that. I feel like
• 22:47
  Speaker 5: the movie is trying to present Duke Anderson as somebody
• 22:50
  Speaker 5: who's sort of against a system, and you know, the
• 22:53
  Speaker 5: surveillance is just one of many things that's against. But yeah,
• 22:58
  Speaker 5: when he's watching that footage of himself, that's like the first,
• 23:02
  Speaker 5: you know, notion of surveillance in this whole movie. And
• 23:05
  Speaker 5: he's almost just like shaking his head. Like I was trying,
• 23:07
  Speaker 5: kept trying to like figure out is he ashamed of
• 23:10
  Speaker 5: what he said? Is he embarrassed? Is he tired of it?
• 23:13
  Speaker 4: Was?
• 23:13
  Speaker 5: Because what you see on that footage, I mean is
• 23:17
  Speaker 5: disgusting what he's saying, and he's hockey and that's not
• 23:21
  Speaker 5: really the duke that we see for the rest of
• 23:23
  Speaker 5: the movie.
• 23:23
  Speaker 9: No, And also that whole thing was just like you
• 23:25
  Speaker 9: can't do fuck all to me, like, yeah, I'm not
• 23:28
  Speaker 9: up for parole, I'm out of here. And he just
• 23:31
  Speaker 9: tells that doctor what he thinks of him, and it's
• 23:33
  Speaker 9: just like, go fuck yourself.
• 23:35
  Speaker 4: Yeah.
• 23:35
  Speaker 5: I mean that really feels like it's more of a
• 23:37
  Speaker 5: like countercultural sort of icon. Whereas, how would y'all describe
• 23:42
  Speaker 5: the Duke Anderson in the book, because he in the
• 23:45
  Speaker 5: book he gets out and gets a job in a
• 23:48
  Speaker 5: printing press and has that job for several months before
• 23:51
  Speaker 5: he even starts to think about this heist.
• 23:54
  Speaker 9: Yeah, why would describe that Duke Anderson as being a
• 23:58
  Speaker 9: sexual pervert? For sure? From a fellow pervert, I should
• 24:02
  Speaker 9: say so, not casting judgment on him, but it's interesting
• 24:05
  Speaker 9: how we really go a lot more into him and
• 24:09
  Speaker 9: his upbringing, find out a lot more about him. I mean,
• 24:14
  Speaker 9: obviously they call him a Limi and this one he's
• 24:17
  Speaker 9: a genteel Southern guy who raised himself up from white trash.
• 24:22
  Speaker 9: But at the same time, it feels like he doesn't
• 24:25
  Speaker 9: know anything other than robbing. You know that thing that
• 24:28
  Speaker 9: he says, and I think it comes to his secondhand
• 24:31
  Speaker 9: from the character. I guess that would be the Martin
• 24:34
  Speaker 9: Balsam character, but I think he's much younger in the
• 24:37
  Speaker 9: book where he's just like, you know, what is it?
• 24:40
  Speaker 9: Something like crime is just war when it's that wartime
• 24:43
  Speaker 9: or something. It's basically like this is an attack type
• 24:46
  Speaker 9: of thing. And I feel like he really probably was
• 24:49
  Speaker 9: in the army and really got into it and kind
• 24:51
  Speaker 9: of his doesn't know what the hell to do now
• 24:53
  Speaker 9: that he's not in there.
• 24:54
  Speaker 4: Yeah.
• 24:55
  Speaker 5: Think someone talks about seeing in the book that someone
• 24:58
  Speaker 5: is referencing Korea and seeing somebody from Kentucky that you know,
• 25:03
  Speaker 5: is a mountain man that you know, when he saw
• 25:06
  Speaker 5: the enemy coming at him with a bayonet, like he
• 25:09
  Speaker 5: went at him, you know. Just they said it was
• 25:11
  Speaker 5: almost like watching a you know, they could have photographed
• 25:14
  Speaker 5: it and put it in a military book like this
• 25:16
  Speaker 5: is how you do combat. And that's not the Connery
• 25:19
  Speaker 5: in the movie at all.
• 25:21
  Speaker 9: No. No, it's interesting too that it's him getting out
• 25:24
  Speaker 9: of prison, and it's him getting out of prison with
• 25:27
  Speaker 9: two other guys, you know, him getting out of prison
• 25:29
  Speaker 9: with the Christopher Walken character, and I don't remember the
• 25:32
  Speaker 9: name of the gentleman right off the bat when it
• 25:34
  Speaker 9: comes to the older guy. But it's like that whole
• 25:38
  Speaker 9: relationship is so interesting to see that. And oh it's
• 25:43
  Speaker 9: Stan Gottlieb, thank you, the guy who was in Putney Swoop.
• 25:47
  Speaker 9: I mostly know him from see the guy that asks
• 25:51
  Speaker 9: about you know, he keeps repeating Mario. Anyway. I love
• 25:55
  Speaker 9: that whole thing and just having this like three generations
• 25:57
  Speaker 9: of criminals and it's like he's he's trying to take
• 26:00
  Speaker 9: care of the kid and he's trying to take care
• 26:02
  Speaker 9: of Pop. It's almost like he's got this like nuclear
• 26:04
  Speaker 9: family that he's coming out of prison with and he's like, Okay, yeah,
• 26:08
  Speaker 9: I'm going to get the kid. I'm going to get
• 26:10
  Speaker 9: him a job. You know, he's kind of just like
• 26:12
  Speaker 9: wasting his life here. I'm going to get him into
• 26:15
  Speaker 9: the criminal enterprise and then I'm going to go to Pop.
• 26:18
  Speaker 9: And Pop just seems so completely confused all the time.
• 26:21
  Speaker 9: And I love when they arrest him at the end
• 26:23
  Speaker 9: and he's just is so relieved. He so reminds me
• 26:27
  Speaker 9: of what is the character's name from the Shawshank Redemption
• 26:30
  Speaker 9: that hangs himself. It just so reminds me of that like,
• 26:33
  Speaker 9: I've been in jail for so long, I have no
• 26:37
  Speaker 9: idea how to live on the outside world. And it
• 26:40
  Speaker 9: is basically I think his other option is either suicide
• 26:44
  Speaker 9: or I'm going to get caught for doing a crime.
• 26:47
  Speaker 9: And it's such a relief because I don't know anything else.
• 26:49
  Speaker 9: Like the way that he even refers to years. He's like, well,
• 26:52
  Speaker 9: I think that was nineteen thirty and six or something,
• 26:55
  Speaker 9: and I'm.
• 26:56
  Speaker 5: Like, nineteen and thirty one, thank you, and yeah.
• 27:00
  Speaker 9: So like out of it, Like when he sees the
• 27:02
  Speaker 9: girls and the miniskirts, he's just like, what the hell's
• 27:04
  Speaker 9: going on?
• 27:05
  Speaker 5: I also love on rewatching, when they're getting off the bus,
• 27:09
  Speaker 5: he tries to get back on. Yes, it's the very beginning,
• 27:12
  Speaker 5: and Connory has to get Christopher Walkin's help to be like, okay,
• 27:16
  Speaker 5: we're taking him out, boy.
• 27:19
  Speaker 9: And when they're in the bus station and they're trying
• 27:22
  Speaker 9: to help him out and the cop comes over because
• 27:25
  Speaker 9: they've seen it on TV. It looks like they're mugging
• 27:27
  Speaker 9: this old man. And when the cop comes over, they
• 27:29
  Speaker 9: all three of them stand up immediately and like put
• 27:32
  Speaker 9: their hands behind their back because they've been so institutionalized.
• 27:36
  Speaker 5: He's my favorite character in the whole movie, and he's
• 27:40
  Speaker 5: the one I feel for the most. He and especially
• 27:44
  Speaker 5: when he caught.
• 27:44
  Speaker 4: Later on the movie.
• 27:45
  Speaker 5: He calls, you know, Connory up and he's in Connory's
• 27:48
  Speaker 5: in bed with Diyan Cannon and Pop's is like, can
• 27:51
  Speaker 5: I come live with you?
• 27:52
  Speaker 1: Yes?
• 27:53
  Speaker 9: Oh it breaks your heart right, he's so lonely.
• 27:57
  Speaker 4: Yeah, I like him quite a bit.
• 28:00
  Speaker 7: He's not.
• 28:00
  Speaker 5: There is somebody I think with a similar name in
• 28:03
  Speaker 5: the book, but he's it's a different character, like he's
• 28:06
  Speaker 5: invented for the movie.
• 28:07
  Speaker 9: Oh yeah, so much stuff is meanted for the movie.
• 28:10
  Speaker 9: But I think they do a good job when it
• 28:12
  Speaker 9: comes to that. Like I love the Ingrid character in
• 28:16
  Speaker 9: the book. I think she's fascinating and I like that
• 28:18
  Speaker 9: the book ends with her, But I don't know how
• 28:21
  Speaker 9: much she would have added to the movie. I think
• 28:24
  Speaker 9: having I mean, it feels like they're already struggling just
• 28:27
  Speaker 9: having Diane Cannon because she doesn't have a whole lot
• 28:29
  Speaker 9: to do.
• 28:30
  Speaker 6: Unfortunately, Diane Cannon is after I would say the first
• 28:34
  Speaker 6: half an hour, is not given much to do, which
• 28:37
  Speaker 6: is such a shame because she's she's really good opposite Connery.
• 28:41
  Speaker 6: She really is and the fact that she just kind
• 28:43
  Speaker 6: of disappears. I mean, it makes sense in the third
• 28:45
  Speaker 6: act of the movie, but doesn't mean I'm not disappointed
• 28:49
  Speaker 6: that she's just kind of gone.
• 28:50
  Speaker 9: Mm hmm.
• 28:51
  Speaker 5: I really like her final scene where she's sort of
• 28:55
  Speaker 5: caught between you know, her boyfriend who's basically blackmailing her.
• 29:00
  Speaker 5: I think, not her boyfriend, her you know, her client.
• 29:03
  Speaker 5: You know, they keep referring to things as a contract. Oh,
• 29:06
  Speaker 5: I'm not fighting with you, I'm negotiating, you know, she
• 29:09
  Speaker 5: says to him on the phone.
• 29:11
  Speaker 9: And then that's her husband in the movie, right or
• 29:14
  Speaker 9: in the book her husband, right, well.
• 29:17
  Speaker 5: Yeah, yeah, in the book her the you know, the
• 29:20
  Speaker 5: the Dyan Cannon characters two different people, is Ingurded, who
• 29:24
  Speaker 5: is sort of sort of the dom to the Duke character,
• 29:28
  Speaker 5: who's you know, very much in control of him, and
• 29:31
  Speaker 5: it's a there's a lot more sexual.
• 29:33
  Speaker 4: Dynamics in the novel than in the movie.
• 29:36
  Speaker 5: And then there's the woman who lives in the house.
• 29:40
  Speaker 5: She's ah in the apartment building. She's a housewife who
• 29:43
  Speaker 5: after she and her husband split up, she goes into
• 29:45
  Speaker 5: the street and picks up Duke and brings brings them home.
• 29:49
  Speaker 5: And then you find out that the husband is recording
• 29:52
  Speaker 5: her to use, you know, for divorce evidence. But yeah,
• 29:56
  Speaker 5: when she asked to the set, when she sort of
• 29:57
  Speaker 5: caught between these two guys, is just heartbreaking to me, Like,
• 30:01
  Speaker 5: and I think she brings a lot to that scene
• 30:04
  Speaker 5: where she doesn't have a lot of dialogue. She seems
• 30:07
  Speaker 5: really trapped, and then you know, Connery is you know,
• 30:10
  Speaker 5: kind of says, you know, like, oh, I guess He's like, well,
• 30:12
  Speaker 5: I guess I could not do this.
• 30:14
  Speaker 4: Heist, right I don't.
• 30:16
  Speaker 5: I mean, that's an interesting moment because you don't. Like
• 30:18
  Speaker 5: that's to me is the scene where I think back
• 30:20
  Speaker 5: to that first opening when he's watching himself on the
• 30:24
  Speaker 5: camera and it's just like, that's the old Duke Anderson,
• 30:27
  Speaker 5: this you know, professional, disturbing, disturbed, you know, criminal. And
• 30:33
  Speaker 5: then in that apartment you see him with his partner
• 30:36
  Speaker 5: and it's like, well, who is he going to be?
• 30:38
  Speaker 5: Is he going to be the criminal or is he
• 30:40
  Speaker 5: going to be you know, the Hollywood romantic lover who
• 30:42
  Speaker 5: gives everything up? And so he does make that offer,
• 30:45
  Speaker 5: I could give up the heist, and it's sort of
• 30:47
  Speaker 5: up to her whether she believes him or not. And
• 30:51
  Speaker 5: you know, I guess we say spoiler alert at this
• 30:53
  Speaker 5: point if somebody's listening and uh, well now long enough. Yeah, okay,
• 31:00
  Speaker 5: and you've also been listening to us blob on and
• 31:02
  Speaker 5: on about this movie. She goes with the guy that
• 31:06
  Speaker 5: paid for the apartment. I think maybe she rightly doesn't
• 31:11
  Speaker 5: believe that Connery would give this up.
• 31:13
  Speaker 9: Yeah, And it's interesting that they have a relationship because
• 31:15
  Speaker 9: in the book the Duke has a former relationship and
• 31:20
  Speaker 9: there's a little bit of distrust I think, and like
• 31:23
  Speaker 9: I think Ingrid. Yeah, like you said, she's basically a
• 31:27
  Speaker 9: professional dominatrix. Sounds like she had a hard time getting
• 31:30
  Speaker 9: out of Europe. I wouldn't be surprised if she was,
• 31:32
  Speaker 9: you know, tortured. They talked about the scars on her
• 31:35
  Speaker 9: body and all this stuff. Like they have a relationship. Yeah,
• 31:38
  Speaker 9: but the relationship Evelyn, who's the woman in the book,
• 31:43
  Speaker 9: does not Yeah, like you said, she just picks him
• 31:46
  Speaker 9: up and so it's a lot easier for him just
• 31:49
  Speaker 9: fuck her over. And basically in that relationship, he and
• 31:53
  Speaker 9: they're very vague when it comes to their sexual relationship,
• 31:56
  Speaker 9: but it sounds like he's more of a top to her.
• 32:00
  Speaker 9: It's like Ingrid is the top to him, and then
• 32:02
  Speaker 9: he's the top to Evelyn. And then the way that
• 32:05
  Speaker 9: they combined the characters so now it's Ingrid like Evelyn's
• 32:09
  Speaker 9: last name. So just taking those two characters and just
• 32:11
  Speaker 9: smashing them together.
• 32:12
  Speaker 5: Don't they use the phrase I'm gonna get you out.
• 32:16
  Speaker 5: I think that's what Ingrid says to Duke in the novel,
• 32:19
  Speaker 5: and then that's what Duke says to the housewife. You're like,
• 32:22
  Speaker 5: I'm going to get you off. It's like I'm gonna
• 32:24
  Speaker 5: get you out, which almost has this other connotation of
• 32:28
  Speaker 5: I'm gonna draw something, you know, a part of you
• 32:31
  Speaker 5: that's like repressed that you don't know. I'm going to
• 32:33
  Speaker 5: bring this out.
• 32:34
  Speaker 9: Yeah, And the way that she like it sounds like
• 32:37
  Speaker 9: he smacked her around or spanked her or did something
• 32:40
  Speaker 9: to her, and she's just like, well, how did you know?
• 32:42
  Speaker 9: And he's like, oh, I could tell, like right away
• 32:44
  Speaker 9: that you're into this shit, you know. It's like, oh, okay, yeah,
• 32:49
  Speaker 9: game meets game. I suppose one thing I have to
• 32:52
  Speaker 9: say that I really like is Dick Anthony Williams not
• 32:57
  Speaker 9: rhyming every time that he talks. That was really annoying
• 33:00
  Speaker 9: in the book for me that character, and then I
• 33:03
  Speaker 9: was super happy to see Paul Benjamin show up in this.
• 33:05
  Speaker 9: That's kind of a different configuration of these characters. But
• 33:09
  Speaker 9: I just watched Across one hundred and tenth Street for
• 33:12
  Speaker 9: the first time like two weeks ago, so seeing him
• 33:16
  Speaker 9: pop up again in this, I was like, yes, yes,
• 33:18
  Speaker 9: give me more of this guy. He's great.
• 33:20
  Speaker 4: He's always good.
• 33:21
  Speaker 9: Oh yes, he's always fantastic. His role in I think
• 33:24
  Speaker 9: I best know him from Escape from Alcatraz and he's
• 33:27
  Speaker 9: so good in that.
• 33:28
  Speaker 6: What do we think of Christopher Walkin because he's in
• 33:31
  Speaker 6: it some a'be it first first feature film, But I
• 33:35
  Speaker 6: mean we've talked a little bit about his character because
• 33:37
  Speaker 6: he's the one that comes out of jail with Connory
• 33:39
  Speaker 6: at the beginning of the movie.
• 33:40
  Speaker 4: He's the drug dealer.
• 33:42
  Speaker 7: Yeah, yeah, what we think of him?
• 33:45
  Speaker 5: He well, Christopher Walkin is just absolutely magnetic. He is,
• 33:51
  Speaker 5: i mean so striking with his looks.
• 33:54
  Speaker 4: Oh yeah, it's.
• 33:56
  Speaker 5: Can't take your eyes off. I mean he just looks
• 33:58
  Speaker 5: so young too. I'm like, in a way to.
• 34:02
  Speaker 9: Pretty yeah pretty man.
• 34:04
  Speaker 5: Yeah, and he does to the way he talks, the
• 34:08
  Speaker 5: way he moves, it's like there's a star in the
• 34:11
  Speaker 5: you know the phrase of star is born. Like he
• 34:14
  Speaker 5: just moves with like like nobody else in that movie.
• 34:16
  Speaker 5: He just he's really his own you know, his own figure.
• 34:20
  Speaker 5: It's it's it's extraordinary. He also doesn't have a ton
• 34:23
  Speaker 5: to work with him. You know, I love all his
• 34:25
  Speaker 5: interactions with Connery because he's really holding his own you know,
• 34:28
  Speaker 5: at first, when he's in the hardware store where you
• 34:32
  Speaker 5: know that's his you know, his nine to five. Now
• 34:34
  Speaker 5: that he's out of prison, you know, at first, he
• 34:36
  Speaker 5: he's you know, he doesn't really feel okay, you know,
• 34:39
  Speaker 5: robbing people because he thinks it's immoral, and hearing him
• 34:42
  Speaker 5: sort of negotiate, I'm okay selling drugs to people, but
• 34:45
  Speaker 5: you know, robbery seems bad, right, And then you know,
• 34:48
  Speaker 5: later on, like the deeper he gets, the more Connery
• 34:52
  Speaker 5: has to sort of keep, you know, letting him know
• 34:54
  Speaker 5: like it's okay, this is the right thing to do, like,
• 34:57
  Speaker 5: and you see him, you know, you know, get you know,
• 34:59
  Speaker 5: so you see him really change and become a little
• 35:02
  Speaker 5: bit darker, until at the very end when again spoiler
• 35:05
  Speaker 5: the lawyer the heightst goes bad and Duke gets shot
• 35:08
  Speaker 5: and Walken is just like, forget him. He's gone. It's
• 35:11
  Speaker 5: just like that is not the character you see in
• 35:14
  Speaker 5: that first scene at all. And yet there's so little
• 35:18
  Speaker 5: screen time that he gets. But somehow Christopher Walken manages
• 35:22
  Speaker 5: to convey this huge transformation like that's uh, he did
• 35:26
  Speaker 5: a great job.
• 35:27
  Speaker 9: I think I totally agree. Yeah, yeah, I wish there
• 35:31
  Speaker 9: was more of him. But like you said, every time
• 35:33
  Speaker 9: he's there on screen, it's like, Wow, this guy has
• 35:36
  Speaker 9: presence and you are I mean, my eyes are always
• 35:40
  Speaker 9: just drawn to him. What is he going to be doing? Yeah,
• 35:43
  Speaker 9: he's one of those actors where it's just like he's
• 35:45
  Speaker 9: going to do something interesting here. I'm just not sure
• 35:48
  Speaker 9: exactly what it is.
• 35:49
  Speaker 4: Chris, what do you think about him?
• 35:50
  Speaker 6: I say, he's not really doing any of the trademark
• 35:54
  Speaker 6: stuff from later in his career either. So I liked
• 35:57
  Speaker 6: him a lot in the movie. I thought he was great.
• 35:59
  Speaker 6: I mean I think, you know, again, like Mike just said,
• 36:01
  Speaker 6: I think I would like more of him in the movie.
• 36:03
  Speaker 4: But this is.
• 36:04
  Speaker 6: Clearly Sean Connery's film. I mean, front and center on
• 36:07
  Speaker 6: the poster film is essentially named after his character. Like
• 36:11
  Speaker 6: he's he takes up most of the air in the room.
• 36:14
  Speaker 6: And I mean understandably. So it's Connery, you know, seventy
• 36:18
  Speaker 6: one Connery, So you know, he's still kind of swinging
• 36:21
  Speaker 6: with a rather big bat. I feel like probably won't
• 36:24
  Speaker 6: be the case in like five to six years after this,
• 36:27
  Speaker 6: but we're at the point now where he's still, like
• 36:29
  Speaker 6: I would say, at the height of what he's doing.
• 36:31
  Speaker 6: So I think walking is good opposite Connery. It's just
• 36:34
  Speaker 6: when you're in a movie with Connery, he just takes
• 36:36
  Speaker 6: up a lot of the room, understandably.
• 36:38
  Speaker 9: So I think the only person that's really giving him
• 36:40
  Speaker 9: a run for the money is Martin Balsom, just because
• 36:43
  Speaker 9: he is just playing it so big. And I have
• 36:47
  Speaker 9: no problem with that whatsoever. And I just love, you know,
• 36:50
  Speaker 9: again to talk about Lumett. I mean, Balsam is such
• 36:54
  Speaker 9: a different character in Twelve Angry Men and here just
• 36:58
  Speaker 9: being so out and just so wild. And it's funny
• 37:02
  Speaker 9: because I'll, you know, we've talked about crime films in
• 37:05
  Speaker 9: the seventies. I mean, for me, it's just you know,
• 37:08
  Speaker 9: taking Pellam one, two, three, But he is so different
• 37:11
  Speaker 9: in this movie as well, and I imagine that his
• 37:15
  Speaker 9: character could be very offensive. These days or all the
• 37:18
  Speaker 9: things that people talk about his character, but I still
• 37:21
  Speaker 9: just love him and I just think that he's great,
• 37:23
  Speaker 9: and especially the way that they use him for, like, hey,
• 37:25
  Speaker 9: you have an eye for artistic stuff. You can be
• 37:28
  Speaker 9: the one that goes around to all these apartments and
• 37:31
  Speaker 9: tell us what to take because we are not educated
• 37:34
  Speaker 9: in that way at all. And it's like that is
• 37:37
  Speaker 9: something that Duke is really good when it comes to.
• 37:40
  Speaker 9: And they even talk about this, like his problem solving
• 37:43
  Speaker 9: skills and just how much he wants to solve problems.
• 37:47
  Speaker 9: It's like if he wasn't a criminal, he could be
• 37:49
  Speaker 9: this like master strategist and the way that he puts
• 37:52
  Speaker 9: this whole heist together and everything, and if anything, it's
• 37:56
  Speaker 9: you know, the mob who's backing him are the ones
• 37:59
  Speaker 9: that really fuck him over by making him work with
• 38:02
  Speaker 9: this Socks character. And Chris, how great was it to
• 38:05
  Speaker 9: see val avery sons mustache in.
• 38:07
  Speaker 7: This Oh my god, no kidding.
• 38:11
  Speaker 6: Valevery without a mustache is a weird looking guy.
• 38:14
  Speaker 9: Yeah, oh yeah.
• 38:15
  Speaker 6: He also has a massive nose when he doesn't have
• 38:18
  Speaker 6: a mustache. I know he has a massive nose all
• 38:20
  Speaker 6: the time, but something about him without a mustache just
• 38:23
  Speaker 6: makes it that much more pronounced times. Has he been
• 38:27
  Speaker 6: on Colombo four at least?
• 38:29
  Speaker 8: Yeah?
• 38:29
  Speaker 9: I mean that for me, it's all about that apartment
• 38:33
  Speaker 9: that Colombo rented that's supposed to be his apartment, right.
• 38:38
  Speaker 5: In another timeline, I would have loved a prequel for
• 38:42
  Speaker 5: his character.
• 38:43
  Speaker 7: Why do they hate him so much? And what has
• 38:45
  Speaker 7: he been up to?
• 38:46
  Speaker 6: Because they they detest him and they want him gone
• 38:50
  Speaker 6: to the point where they're like, you know what, we'll
• 38:51
  Speaker 6: give you the money as long as you kill this
• 38:53
  Speaker 6: fucking guy before the end of the eyes.
• 38:55
  Speaker 7: Just pin it on him.
• 38:57
  Speaker 6: It'll be his problem, or just kill him, you know,
• 38:59
  Speaker 6: or just you know, put it on him and then
• 39:01
  Speaker 6: kill him.
• 39:01
  Speaker 5: I feel, I mean we sort of touched on this earlier,
• 39:03
  Speaker 5: but you know, part of the postmodern aspect of this
• 39:06
  Speaker 5: movie is, you know, all of these in the novel,
• 39:09
  Speaker 5: you know, all the microphones are picking up what is
• 39:12
  Speaker 5: supposed to be a different story, right, And in that
• 39:15
  Speaker 5: same way, all these characters are actually leading. They're all
• 39:19
  Speaker 5: leading other lives and it's just because of Duke that
• 39:23
  Speaker 5: they all come together for this. And you know, he's
• 39:26
  Speaker 5: a you know a great example of somebody that you
• 39:28
  Speaker 5: can see suggestions of a really compelling, fascinating story. But
• 39:33
  Speaker 5: that's that's not what we have here.
• 39:35
  Speaker 7: Is that I don't know.
• 39:36
  Speaker 6: It is a shame, but I do think that the
• 39:38
  Speaker 6: movie is a good opportunity to see Sean Connery just
• 39:41
  Speaker 6: kind of interestingly playing it a lot more restrained than
• 39:45
  Speaker 6: I was expecting as well, because he's I wouldn't say
• 39:47
  Speaker 6: like he's you know, he obviously takes up a lot
• 39:49
  Speaker 6: of air on screen, but he's not playing it really big.
• 39:52
  Speaker 6: He's really rained in and I like the kind of
• 39:55
  Speaker 6: I don't know, the restraint that he plays Duke Anderson
• 39:58
  Speaker 6: with because it could have been a really I mean
• 40:00
  Speaker 6: and again in the book it is a really different character.
• 40:01
  Speaker 6: But I like where Connery is coming at it from
• 40:05
  Speaker 6: with the screen version of it, because I think for
• 40:07
  Speaker 6: what the film is, it works perfectly. I think you
• 40:10
  Speaker 6: needed to have kind of a bigger presence on screen,
• 40:13
  Speaker 6: even if you're not letting him kind of chew the
• 40:15
  Speaker 6: scenery as he normally does. I think it was still
• 40:18
  Speaker 6: the right idea to have somebody of Connery's caliber as
• 40:21
  Speaker 6: the lead for the film.
• 40:22
  Speaker 5: Well, I think you're totally right, And something I kept
• 40:24
  Speaker 5: asking myself as I was watching this is who is
• 40:28
  Speaker 5: the real Duke Anderson? Is it, you know, the person
• 40:31
  Speaker 5: on the video monitor in the opening scene. Is it,
• 40:34
  Speaker 5: you know, the guy who's you know, sitting in the
• 40:37
  Speaker 5: chair just you know, raging against the system that's been
• 40:40
  Speaker 5: oppressing him. Is it the person that's like trying to
• 40:43
  Speaker 5: help this old man, this like younger you know, ex Cohn.
• 40:47
  Speaker 5: Is it the you know, sort of sensitive lover to
• 40:50
  Speaker 5: Diane Cannon. Is it the sort of cocky criminal that's
• 40:55
  Speaker 5: you know, going to the mob and saying, no, no, no,
• 40:58
  Speaker 5: I reject your offer. We're getting fifty fifty, uh, you know,
• 41:01
  Speaker 5: not sixty forty.
• 41:03
  Speaker 4: Is it?
• 41:03
  Speaker 5: You know, when he gets asked to do the you know,
• 41:06
  Speaker 5: to bump off, you know, the mob guy, he seems
• 41:10
  Speaker 5: a little you know, unsure if he can do this,
• 41:12
  Speaker 5: you know. And then but when he's dealing with the
• 41:14
  Speaker 5: mob guy with the vale Avery, he's, oh my god,
• 41:18
  Speaker 5: he's even cockier than he is with the you know,
• 41:20
  Speaker 5: the capos. He's just like this like agroheman. And so
• 41:25
  Speaker 5: throughout the movie he's really changing who he is. And
• 41:28
  Speaker 5: I think, I mean that's what makes it interesting. When
• 41:30
  Speaker 5: you get to the heist, it's like, well, how is
• 41:32
  Speaker 5: he gonna play this out? Which which of these is
• 41:34
  Speaker 5: the actual Duke Anderson? And uh, I mean dot dot dot,
• 41:38
  Speaker 5: I mean it's spoiler alert again, it's I mean, what
• 41:41
  Speaker 5: what do.
• 41:42
  Speaker 4: You all think?
• 41:42
  Speaker 5: Because we see different sides of Duke during that heist,
• 41:46
  Speaker 5: Like as things continue to get worse and worse, he keeps,
• 41:50
  Speaker 5: you know, trying to you know, responding in different ways.
• 41:53
  Speaker 5: But I guess that's to me what makes it a
• 41:55
  Speaker 5: suspenseful heist sequences we don't know how he's actually going
• 41:59
  Speaker 5: to respond.
• 42:00
  Speaker 9: What's interesting too that we have this almost fragmented portrayal
• 42:04
  Speaker 9: or portrait of Duke, and we are getting told this
• 42:08
  Speaker 9: story from all of this these different points of view.
• 42:11
  Speaker 9: I mean, there are times they to Chris's earlier point,
• 42:14
  Speaker 9: like there are times where they really stick to this
• 42:16
  Speaker 9: whole idea of all of this is being recorded. But
• 42:19
  Speaker 9: then there are times where you're watching it and you're like, oh,
• 42:23
  Speaker 9: this is a movie as opposed to this is footage
• 42:26
  Speaker 9: from someplace else, because that is so much the conceit
• 42:30
  Speaker 9: of the book. As we've already said, like everything that
• 42:32
  Speaker 9: we are reading is a transcript or a letter or
• 42:38
  Speaker 9: whatever it is. With this whole epistolatory nature of it,
• 42:41
  Speaker 9: so we don't know anything more than that can be
• 42:45
  Speaker 9: captured by a device. And like even to the point
• 42:49
  Speaker 9: of there's a scene pretty early on in the book
• 42:52
  Speaker 9: where the recording is on the fritz and words are missing,
• 42:57
  Speaker 9: you know, all the things are missing from there. It's like,
• 42:59
  Speaker 9: you know, Mike Myers when he's doing is, yeah, we're
• 43:03
  Speaker 9: ordering from a drive through. Uh you know, drive in
• 43:07
  Speaker 9: you drive through restaurant, you know where he omits things.
• 43:11
  Speaker 9: You're getting that. So like we and it works to
• 43:15
  Speaker 9: me a little bit better as a book because of
• 43:19
  Speaker 9: the whole thing of well, where's the microphone, where's the camera?
• 43:23
  Speaker 9: You know, like we see like when when Alan King's
• 43:26
  Speaker 9: talking to the character that they call Papa, like the
• 43:28
  Speaker 9: old mob boss kind of thing, and it's like we
• 43:30
  Speaker 9: get this whole scene. And then at the very end
• 43:32
  Speaker 9: we see the nurse has a pen in her lapel
• 43:36
  Speaker 9: and that's a microphone. Then you see a guy out
• 43:38
  Speaker 9: on a boat and he's got a film camera and
• 43:41
  Speaker 9: he's he's recording everything, and I'm like, I kind of
• 43:44
  Speaker 9: wish that that it all been from their point of
• 43:47
  Speaker 9: view rather than like this beautiful setup that the met
• 43:51
  Speaker 9: is showing us and just like, you know, how wonderful
• 43:55
  Speaker 9: everything looks, how beautiful it is, and all this this
• 43:58
  Speaker 9: wonderful scene out by the water and all that. It's
• 44:00
  Speaker 9: like I kind of wish that they had lean more
• 44:02
  Speaker 9: into this conceit of you only see what the recording
• 44:06
  Speaker 9: is allowing us to see.
• 44:08
  Speaker 6: Yeah, that's I mean, that's I mean, that's what I
• 44:10
  Speaker 6: I mean, you're you hit it again, Like I just
• 44:13
  Speaker 6: I have such a love for these kinds of things
• 44:16
  Speaker 6: when they're done well. And I think, you know, Mike,
• 44:18
  Speaker 6: I think you'd probably agree with this sentiment, like commit
• 44:21
  Speaker 6: to the bit, commit to the fucking bit, Like, if
• 44:23
  Speaker 6: you're gonna do this, the book commits to the bit.
• 44:26
  Speaker 6: The book commits to the bit one hundred percent. I
• 44:28
  Speaker 6: enjoy that the movie commits to like the bit maybe
• 44:31
  Speaker 6: sixty percent of the way, but that last forty percent.
• 44:34
  Speaker 6: I think part of it is the Sidney Lumette of
• 44:36
  Speaker 6: it all. Like I don't think Sidney Lumett is interested
• 44:38
  Speaker 6: in making that kind of movie, uh clearly, And I
• 44:40
  Speaker 6: think that that kind of movie hampers certain kinds of
• 44:43
  Speaker 6: things that Sidney Lumett probably wanted to do and did do,
• 44:46
  Speaker 6: because like you said, Mike, it's a very well put
• 44:48
  Speaker 6: together film. It's a very nice looking movie. That kind
• 44:51
  Speaker 6: of movie may not have looked that way just based
• 44:54
  Speaker 6: on what it's having to do. It may have been
• 44:55
  Speaker 6: a lot harder even and oh no, you you know,
• 44:58
  Speaker 6: go ahead.
• 44:58
  Speaker 4: Co De mean to cut you off. I'll go for
• 45:00
  Speaker 4: it now.
• 45:00
  Speaker 5: I agree. I don't think that he could have made
• 45:03
  Speaker 5: the book as the book is written in Hollywood at
• 45:06
  Speaker 5: that time, And that's why I was sort of saying that,
• 45:09
  Speaker 5: like I felt like, is this going to be a
• 45:11
  Speaker 5: Thomas Crown affair or is this going to be something else?
• 45:14
  Speaker 5: Because it does have it still feels like they're trying
• 45:17
  Speaker 5: to sell a sort of more traditional Hollywood heist movie
• 45:21
  Speaker 5: that's fun, but at the same time, there is more
• 45:24
  Speaker 5: of these darker undercurrents that you will see later. I
• 45:26
  Speaker 5: think if he had made the movie, maybe ten years later,
• 45:30
  Speaker 5: maybe he could have done more of this sort of,
• 45:33
  Speaker 5: you know, actual surveillancey type of movie. But I think
• 45:37
  Speaker 5: in seventy one that would have been too experimental for
• 45:39
  Speaker 5: a you know, for a major motion picture.
• 45:42
  Speaker 9: I think you're right. I think you're absolutely right.
• 45:44
  Speaker 5: I think somebody could do a new version of this today,
• 45:48
  Speaker 5: and I think it would be totally relevant. I mean
• 45:51
  Speaker 5: now that we have internet and phones and stuff, and
• 45:54
  Speaker 5: I think they could really do what y'all are talking about,
• 45:57
  Speaker 5: like just getting into these different forms you know, of
• 46:02
  Speaker 5: a mixed media, and I think it would be not
• 46:04
  Speaker 5: only accepted, I think people would love it.
• 46:06
  Speaker 6: What you need to get ice Cube sitting in front
• 46:09
  Speaker 6: of a computer talking about how the aliens are invading
• 46:14
  Speaker 6: and then we'll just do but we'll just do that,
• 46:16
  Speaker 6: but with this movie.
• 46:17
  Speaker 5: If you do that movie, can you please invite me?
• 46:20
  Speaker 5: Because no movie last year made me. I didn't think
• 46:23
  Speaker 5: about any movie more than I did that movie.
• 46:26
  Speaker 4: I don't know whether it's terrible or great.
• 46:30
  Speaker 6: Is haunted by the War of the World's movie with
• 46:32
  Speaker 6: ice Cube in it.
• 46:33
  Speaker 5: It's to me, it's the again, I can't figure that
• 46:36
  Speaker 5: movie out, like.
• 46:38
  Speaker 9: It's a sub genre now like this whole we're just
• 46:41
  Speaker 9: shooting this from a point of view. There was that
• 46:43
  Speaker 9: movie was a John Chow.
• 46:45
  Speaker 6: Unfriended, and then yeah, yeah, Unfriended was the one that
• 46:48
  Speaker 6: started it. And then there were those yeah the Stalked
• 46:51
  Speaker 6: or whatever that when missing or something that John Show
• 46:53
  Speaker 6: went is like a girl gets kidnapped, but there's no
• 46:56
  Speaker 6: supernatural element.
• 46:57
  Speaker 7: It's just on the computer.
• 46:58
  Speaker 9: Though, right right, yeah, yeah, but.
• 47:00
  Speaker 5: Like the whole like that movie. Did they pitch that
• 47:03
  Speaker 5: as like it's the most pro Amazon Prime delivery movie
• 47:08
  Speaker 5: of all time? And I'm like, do the people making
• 47:10
  Speaker 5: this actually believe this? Or is this just like somebody
• 47:13
  Speaker 5: pitched this during a board meeting and it was so
• 47:17
  Speaker 5: over the top with its pro Amazon is that nobody
• 47:20
  Speaker 5: could say no or risk getting fired. Like is there
• 47:23
  Speaker 5: something weirdly subversive about you can't say you can't save
• 47:28
  Speaker 5: the world unless you click buy on Amazon dot com?
• 47:32
  Speaker 5: Like it's so absurd, like it's put groutschow Marx with
• 47:36
  Speaker 5: but like if you put Groucho Marx and his mustache
• 47:39
  Speaker 5: in there, like this would be like duck soup level absurdity.
• 47:42
  Speaker 9: Oh yeah, no, it is a totally absurd concept and execution.
• 47:46
  Speaker 5: Yeah.
• 47:47
  Speaker 4: I need to see it again.
• 47:48
  Speaker 5: So if you do the podcast about that movie, I
• 47:51
  Speaker 5: would love to come on. I can't tell you what
• 47:53
  Speaker 5: I will think about that movie, but I also just
• 47:56
  Speaker 5: like a movie that makes me think, and I to
• 47:58
  Speaker 5: me that movie was far were fascinating than stuff like
• 48:01
  Speaker 5: Running Man or Eddington, and whether intentional or not, I
• 48:06
  Speaker 5: thought it was far more dystopic than both of those
• 48:08
  Speaker 5: films You.
• 48:09
  Speaker 9: Sound like me and Megalopolis, where I just can't stop
• 48:12
  Speaker 9: thinking about that stupid movie.
• 48:13
  Speaker 5: I really want to see that.
• 48:15
  Speaker 4: I'm so bummed that I missed it.
• 48:16
  Speaker 5: And every time it comes back to play the Roxy
• 48:19
  Speaker 5: here in New York, it's always a night that I
• 48:22
  Speaker 5: have something else going on. So copele, if you're listening,
• 48:25
  Speaker 5: bring it back to New York one more time, but
• 48:27
  Speaker 5: just check with me and my schedule first.
• 48:29
  Speaker 9: I want to say your prayers are answered. I just
• 48:32
  Speaker 9: recently saw on Instagram, let's see May fourth Roxy Theater,
• 48:37
  Speaker 9: So I don't know if that's going to be too
• 48:39
  Speaker 9: late for you. And actually that was too late because
• 48:42
  Speaker 9: I was just the other day. So they just played
• 48:44
  Speaker 9: in New.
• 48:45
  Speaker 4: This is what I mean.
• 48:46
  Speaker 9: So but yeah, no, they a new cut that's going
• 48:49
  Speaker 9: to happen with the what's he calling it, Megalopolis unchained
• 48:54
  Speaker 9: or something like that or unbound. So yeah, we're we're
• 48:57
  Speaker 9: in for more Megalopolis. And I think his whole New
• 49:01
  Speaker 9: Year's screaming thing is going to become a tradition. Cool,
• 49:04
  Speaker 9: whether we like it or not.
• 49:06
  Speaker 7: Cool, he likes it. That's already mattered.
• 49:09
  Speaker 9: Yeah, you know, I can't stop thinking about it.
• 49:11
  Speaker 7: I love a good vanity project.
• 49:13
  Speaker 6: I mean, I know the War of the World is
• 49:14
  Speaker 6: not a vanity project by any stretch of the imagination.
• 49:17
  Speaker 9: Well, it might be Jeff Bezos's vanity project.
• 49:20
  Speaker 7: Isn't that everything now technically that.
• 49:23
  Speaker 9: He does as opposed to Milania, which is Milania Trump's
• 49:27
  Speaker 9: vanity project.
• 49:28
  Speaker 11: Hey, everybody, my name is Milania Trump. Come see my movie,
• 49:32
  Speaker 11: fam It's the whole fucking movie. Colin, But no, he
• 49:36
  Speaker 11: listened to that episode because he wanted to share in
• 49:38
  Speaker 11: the pain with the rest of us.
• 49:42
  Speaker 4: I only made it, and I need to finish the episode.
• 49:45
  Speaker 4: I am. I did have to take a break.
• 49:48
  Speaker 7: I mean it was a great film, a great episode,
• 49:51
  Speaker 7: not as good as this movie. I do think.
• 49:54
  Speaker 6: We know we talked about the surveillance state of it all,
• 49:56
  Speaker 6: and Colin, you said, like they could remake this. I
• 49:59
  Speaker 6: think they could make something of this or something in this. Vein,
• 50:02
  Speaker 6: like when it comes to what is effectively a found
• 50:05
  Speaker 6: footage or found footage style film or mockumentary or whatever
• 50:09
  Speaker 6: the framing device you would use, like surveillance. Know, this
• 50:12
  Speaker 6: is cobbled together surveillance footage or whatever they there is
• 50:15
  Speaker 6: shockingly little in terms of non horror movie thing, So
• 50:19
  Speaker 6: to have something like that or this in that capacity
• 50:23
  Speaker 6: would be really fun actually, because again it's just not done.
• 50:28
  Speaker 6: It's not done as frequently. It's just it's just more
• 50:31
  Speaker 6: of a horror movie pastiche to do found footage than
• 50:34
  Speaker 6: it is like a crime film or a heist film even.
• 50:39
  Speaker 6: But like you said, Mike, in the day and age
• 50:41
  Speaker 6: of iPhones and everything else, like, I feel like you
• 50:44
  Speaker 6: could make something really interesting. This movie kind of leans
• 50:46
  Speaker 6: into it a little bit with the ham Radio of
• 50:48
  Speaker 6: it all. I mean that's the you know, it reminded
• 50:50
  Speaker 6: me a little bit Mike of Colombo. You know, technology
• 50:52
  Speaker 6: is crazy. We all as wild stuff in the seventies,
• 50:57
  Speaker 6: Like this movie has a little bit of that. So
• 50:58
  Speaker 6: I feel like if you did something a modern day
• 51:02
  Speaker 6: re kind of retelling or update or even inspiration even
• 51:06
  Speaker 6: because I mean, you don't have to remake this movie.
• 51:07
  Speaker 6: There's this Let's just be honest here. If James Bond
• 51:10
  Speaker 6: doesn't have any cachet anymore, do we think the Anderson
• 51:13
  Speaker 6: Tapes does.
• 51:14
  Speaker 7: I don't think so.
• 51:15
  Speaker 6: But you could make a movie inspired by this movie,
• 51:18
  Speaker 6: and I think it would be pretty interesting, and like
• 51:20
  Speaker 6: you said, Colin, in this day and age, where you
• 51:22
  Speaker 6: can do something interesting even with the most basic of
• 51:26
  Speaker 6: technological ideas, like having a guy sitting in front of
• 51:28
  Speaker 6: a computer, imagine what someone who actually had something interesting.
• 51:32
  Speaker 7: To say could do with an idea like this.
• 51:33
  Speaker 6: Because this movie touches on it, I just don't think
• 51:35
  Speaker 6: it ever goes all the way there. I think it just,
• 51:39
  Speaker 6: you know, it's still maybe is a little hamstrung by
• 51:41
  Speaker 6: being just outside of the sixties barely, because if this
• 51:45
  Speaker 6: were maybe a year or two later, I think that
• 51:48
  Speaker 6: would have really been punched up by whoever did it.
• 51:50
  Speaker 6: They probably would have leaned into it even more, especially
• 51:53
  Speaker 6: post Watergate, my lord.
• 51:55
  Speaker 5: And I still like the ending is I mean, that's
• 51:58
  Speaker 5: something I liked about. I like the ending of the
• 52:00
  Speaker 5: movie better than the ending of the book personally, because
• 52:02
  Speaker 5: it does have all those characters that are the you know,
• 52:07
  Speaker 5: that are working for the government and the police say
• 52:09
  Speaker 5: oh shit, what we're doing is illegal. If we get
• 52:11
  Speaker 5: found out, we're screwed, deleteed, hide everything. Like to me,
• 52:16
  Speaker 5: that's where you start to see this sort of revisionist aspect,
• 52:19
  Speaker 5: like we just watched this whole scene where you know
• 52:21
  Speaker 5: the police are doing this kind of insane stunt. You know,
• 52:25
  Speaker 5: Ralph Meeker also love Ralph Meeker as the chief of police.
• 52:30
  Speaker 5: He's he's incredible ordering this guy to go climb this building.
• 52:35
  Speaker 7: Garrett Morris of.
• 52:39
  Speaker 9: Oh god, that shot when the guy walks down and
• 52:43
  Speaker 9: is it Garrett Morris who walks down the street and
• 52:45
  Speaker 9: then he turns the corner and then you see all
• 52:48
  Speaker 9: of the cops just hanging out there. I'm just like,
• 52:51
  Speaker 9: holy shit.
• 52:52
  Speaker 5: That's a chilling moment, especially seeing that part of Manhattan
• 52:57
  Speaker 5: where they've blocked off the streets and it's quiet and empty.
• 53:00
  Speaker 5: I work on the Upper east Side and it ain't
• 53:03
  Speaker 5: ever quiet. It's that's near uh. I mean, there's just
• 53:07
  Speaker 5: ambulances and sirens and it's just people and it's maybe
• 53:12
  Speaker 5: it was quieter back then, but still seeing Manhattan quiet
• 53:16
  Speaker 5: and still, there's something very unnerving about that.
• 53:19
  Speaker 9: I love seeing the Mayflower moving truck because for years
• 53:23
  Speaker 9: I didn't even know that Mayflower is a real moving
• 53:25
  Speaker 9: company because they've been talking about that and the Jerky boys. Yeah,
• 53:28
  Speaker 9: I worked from Mayflower. I work from Moist, you know.
• 53:31
  Speaker 9: And then when I saw my first Mayflower truck I
• 53:33
  Speaker 9: was just like, oh, it's a real thing. Okay, all right,
• 53:36
  Speaker 9: that's cool, and I.
• 53:37
  Speaker 5: Moved and made my family from Georgia.
• 53:39
  Speaker 9: The main I love nineties. I love that they do
• 53:42
  Speaker 9: the whole mini van in the back of the moving
• 53:44
  Speaker 9: truck so die hard, and even the die hardness of
• 53:49
  Speaker 9: the kid calling on the radio and like nobody believes
• 53:52
  Speaker 9: them except for these ham operators over in like you know,
• 53:55
  Speaker 9: Arizona and Hawaiian stuff, and they're the ones that relay
• 53:58
  Speaker 9: the message. And I mean that's such a major flaw
• 54:02
  Speaker 9: that they trust the handicap kid. It's just like, hey,
• 54:05
  Speaker 9: what thread am I to you? And they're like, yeah, no,
• 54:07
  Speaker 9: I guess you're right. And then he just turns right
• 54:09
  Speaker 9: around and gets on the radio and I'm like, okay,
• 54:13
  Speaker 9: I mean.
• 54:13
  Speaker 5: I don't have good I don't think these are actually
• 54:16
  Speaker 5: good criminals.
• 54:17
  Speaker 9: No.
• 54:18
  Speaker 5: And that's what I think is, that's what I think
• 54:20
  Speaker 5: is really fascinating is like the movie be You know,
• 54:22
  Speaker 5: if we look at the heist genre, if we're talking
• 54:25
  Speaker 5: about again like Thomas Crown or like Ocean's eleven, especially
• 54:28
  Speaker 5: at this time, it's built around smart criminals. You know,
• 54:33
  Speaker 5: it's going back to raffles the gentleman thief. It's this
• 54:36
  Speaker 5: idea that you can be artful and sort of like,
• 54:39
  Speaker 5: you know, what you're doing is so genius that it
• 54:42
  Speaker 5: doesn't matter that what you're doing is you know, a
• 54:44
  Speaker 5: crime and that you're stealing and hurting other people. And
• 54:47
  Speaker 5: then you see this movie and you see the planning,
• 54:50
  Speaker 5: and you think that they're going to be smart, but
• 54:53
  Speaker 5: it's not that well planned a heist. And even the
• 54:55
  Speaker 5: mob you know, knows that this is gonna go bad,
• 54:59
  Speaker 5: and they okay it because they still want it to
• 55:02
  Speaker 5: be on the front page because they'd rather have it
• 55:04
  Speaker 5: go bad. And then people are gonna like be you know,
• 55:07
  Speaker 5: realize that, you know, look at all the chaos the
• 55:10
  Speaker 5: mob caused. It gets yeah, Like I mean, that's the
• 55:14
  Speaker 5: revisionist aspect of the movie that really interests me in
• 55:17
  Speaker 5: terms of genre.
• 55:17
  Speaker 9: Yeah, the whole thing where they're like, we're not even
• 55:19
  Speaker 9: doing this stuff anymore. We're we're doing all these other
• 55:23
  Speaker 9: things and we make more from numbers, we make more
• 55:26
  Speaker 9: from this like this. There's no upside to this other
• 55:29
  Speaker 9: than for them, well cool, we get to get rid
• 55:31
  Speaker 9: of this valevery character. We've been looking for an excuse
• 55:34
  Speaker 9: to get rid of socks, and this is our excuse.
• 55:37
  Speaker 9: Whether they get caught and we don't get anything, or
• 55:41
  Speaker 9: whether they don't get caught and we get a cup
• 55:43
  Speaker 9: of the cut of this, we make out. Either way,
• 55:46
  Speaker 9: it really is all right. And going back to the
• 55:49
  Speaker 9: hot heist genre, like, I think the masks are genius.
• 55:53
  Speaker 9: I think there's their references to what Kansas City Confidential
• 55:58
  Speaker 9: kind of minded me. And I'm trying to remember which
• 56:01
  Speaker 9: film it was and what kills me is. I can
• 56:03
  Speaker 9: remember that Morricone did the score, but I don't remember
• 56:06
  Speaker 9: who the actors or the director was. But like I
• 56:11
  Speaker 9: remember in a compilation, actually it was in John Zorn
• 56:16
  Speaker 9: doing all those Morricone songs. There's like an image from
• 56:21
  Speaker 9: a robbery film and I'm just like, these are really
• 56:23
  Speaker 9: cool masks. And like in the book, they're not the's right,
• 56:26
  Speaker 9: it's just like, well you got a paint me on
• 56:28
  Speaker 9: your head. They're just wearing pantyhose, right, And yeah, but
• 56:31
  Speaker 9: I love these masks and I just love I think
• 56:33
  Speaker 9: they're so cool looking, and you know, they are very
• 56:38
  Speaker 9: functional for a movie because they make the characters look
• 56:41
  Speaker 9: a little otherworldly, but you know exactly who every single
• 56:45
  Speaker 9: character is. It's not like a full face mask, like
• 56:48
  Speaker 9: a like a joker or something.
• 56:49
  Speaker 5: I give a shout out to another heist movie from
• 56:52
  Speaker 5: the same year, The Day of the Wolves.
• 56:55
  Speaker 4: Ah nice, which is great.
• 56:57
  Speaker 5: And I still don't think I don't even know if
• 57:00
  Speaker 5: that ever got a DVD release like it is online.
• 57:04
  Speaker 5: I've seen it at Spectacle a couple of times. But
• 57:09
  Speaker 5: if anybody who does Blu rays is listening in, yeah,
• 57:13
  Speaker 5: it looks like it did get a few. It was
• 57:15
  Speaker 5: on some like these multi pack DVDs. But if somebody
• 57:19
  Speaker 5: listening wants to do a nice Blu ray, Day of
• 57:21
  Speaker 5: the Wolves is a treat.
• 57:23
  Speaker 9: Anyway, I haven't seen it, but if you're recommending it,
• 57:26
  Speaker 9: I'll check it out.
• 57:27
  Speaker 5: I remember liking it, Oh real quick.
• 57:30
  Speaker 9: What do you guys think about this whole idea of
• 57:32
  Speaker 9: the Ham Radio being the trip up, because it's like,
• 57:37
  Speaker 9: it's kind of a throwback for me that Ham Radio
• 57:40
  Speaker 9: is the thing that it's them. We're in this world
• 57:43
  Speaker 9: of modern, modern technology, but it's the kid on the
• 57:47
  Speaker 9: Ham Radio which is the one that eventually foils the
• 57:50
  Speaker 9: entire thing.
• 57:51
  Speaker 5: I think it's a clever bit of irony.
• 57:54
  Speaker 6: Yeah, I think it's really smart because it allows the
• 57:57
  Speaker 6: movie to really be I would say, hands off with
• 58:01
  Speaker 6: how they get caught, because you can have everybody in
• 58:03
  Speaker 6: the building all rounded up, you can have everything cordoned off,
• 58:07
  Speaker 6: and yeah, you have just the one least obvious thing possible.
• 58:12
  Speaker 6: Is the reason this happens, Like the reason the entire
• 58:16
  Speaker 6: plan is foiled is because of a child. Of course,
• 58:19
  Speaker 6: it's because of a child, Like you know.
• 58:21
  Speaker 7: I don't know.
• 58:22
  Speaker 6: I thought it was smart. I love I love when
• 58:23
  Speaker 6: Hamm radios are in anything. As a ham radio operator myself,
• 58:28
  Speaker 6: I find it very funny that Ham radio operators are
• 58:30
  Speaker 6: a downfall of Sean Connery, who I guess dies at
• 58:33
  Speaker 6: the end.
• 58:33
  Speaker 9: Yeah, when he so when he comes out from the chimney,
• 58:38
  Speaker 9: just kind of drops down like a wounded Santa Claus.
• 58:42
  Speaker 9: I thought for sure that since he had been seen
• 58:46
  Speaker 9: in this apartment so many times with Diane Cannon, that
• 58:50
  Speaker 9: maybe he was going to go in the bedroom, put
• 58:53
  Speaker 9: on a suit and just pretend that he was there
• 58:55
  Speaker 9: the entire time or something, because there's all that chaos
• 58:58
  Speaker 9: that happens afterwards. Of like when we cut to like
• 59:02
  Speaker 9: Martin Balsom talking about the robbery, you know from again
• 59:05
  Speaker 9: from the Future it's like a flash forward of him
• 59:08
  Speaker 9: talking about things while the robbery is happening, and so
• 59:10
  Speaker 9: you're kind of like already like, oh, well, this isn't
• 59:12
  Speaker 9: going to work out.
• 59:14
  Speaker 4: But yeah, I just kept.
• 59:15
  Speaker 9: Thinking, Oh, he's going to use this, like this is
• 59:17
  Speaker 9: a really good alibi for him to like have been
• 59:21
  Speaker 9: there so many times.
• 59:23
  Speaker 5: I actually wonder if there's more footage, because you're right
• 59:27
  Speaker 5: that that seems like something that just isn't a different rest, Like.
• 59:32
  Speaker 9: There definitely was a different ending at one point.
• 59:35
  Speaker 6: Yeah, they talked, I mean I in the research they
• 59:37
  Speaker 6: talk about it. They talk about that the Columbia was
• 59:39
  Speaker 6: not a fan of the ending of the film.
• 59:42
  Speaker 5: There's other parts of the movie though, that make me
• 59:44
  Speaker 5: think that there's more, Like when Diane Cannon is in
• 59:47
  Speaker 5: bed with Sean Connery and she's referencing, you know, this
• 59:50
  Speaker 5: sexual encounter with another woman, and Sean Connery's so.
• 59:54
  Speaker 9: That was with another woman, Okay. I was wondering what
• 59:56
  Speaker 9: that was. I thought it was like like her first
• 1:00:00
  Speaker 9: time was somebody. I wasn't sure what was going on
• 1:00:02
  Speaker 9: with that, Thank you.
• 1:00:03
  Speaker 5: I rewounded a couple times and put the subtitles on
• 1:00:07
  Speaker 5: because it comes out of nowhere and there's no context
• 1:00:10
  Speaker 5: to what's being to what's being said, And at first
• 1:00:13
  Speaker 5: I thought I missed something, but it makes me think
• 1:00:16
  Speaker 5: that there was more footage to that scene and something
• 1:00:20
  Speaker 5: got cut. And so with the ending where it doesn't
• 1:00:23
  Speaker 5: tell you whether or not Seohn Connery lives or dies,
• 1:00:26
  Speaker 5: you know, as you were, you know, suggesting, you know,
• 1:00:28
  Speaker 5: he'd been seen in the building. You know, he went
• 1:00:30
  Speaker 5: back to an apartment and hid like it seemed that
• 1:00:33
  Speaker 5: they were building towards something else, like they were going
• 1:00:35
  Speaker 5: to try and tie us all together, and then it
• 1:00:38
  Speaker 5: just doesn't happen. So maybe there was more, maybe there
• 1:00:41
  Speaker 5: was a bigger finish, something clever, and instead they went
• 1:00:46
  Speaker 5: with a different ending. And I do like I like
• 1:00:49
  Speaker 5: ending on the deleting all the footage, erasing it. Yes,
• 1:00:53
  Speaker 5: I'm a big fan of that.
• 1:00:55
  Speaker 9: That great cold end with the just that close up
• 1:00:59
  Speaker 9: of the the recorder is such a great way to
• 1:01:03
  Speaker 9: pull out of this.
• 1:01:04
  Speaker 5: Chris, what do you think about the ending of the
• 1:01:06
  Speaker 5: movie versus the ending of the book?
• 1:01:09
  Speaker 6: I mean, I think they're both. I mean again like
• 1:01:11
  Speaker 6: cynical or kind of again, however you want to perceive
• 1:01:14
  Speaker 6: what the tone of the both the pieces are but
• 1:01:16
  Speaker 6: I do. I personally, I can understand liking the book more.
• 1:01:21
  Speaker 6: I just think I like the movie.
• 1:01:24
  Speaker 7: I don't know.
• 1:01:24
  Speaker 6: I'm kind of split because I do like the book,
• 1:01:26
  Speaker 6: but I do like the movie's ending. I like the
• 1:01:28
  Speaker 6: idea of the inability of the organizations to work together
• 1:01:32
  Speaker 6: being kind of really hammered home in the book, but
• 1:01:35
  Speaker 6: in the movie, like you said, Colin, and clearly again
• 1:01:37
  Speaker 6: just in the research, like they left something out of
• 1:01:40
  Speaker 6: the ending, because the ending feels really disjointed, and honestly,
• 1:01:44
  Speaker 6: where they leave Sean Connery's character just kind of strain,
• 1:01:46
  Speaker 6: like he's just sitting on that gurney and then that's it.
• 1:01:49
  Speaker 6: And it's like, Okay, like the book works better because
• 1:01:53
  Speaker 6: the book seems better thought out. The movie could have
• 1:01:56
  Speaker 6: been better thought out, and maybe at one point it was.
• 1:01:59
  Speaker 6: But I just feel like they made some choices in
• 1:02:01
  Speaker 6: the movie that just don't serve the narrative as well
• 1:02:04
  Speaker 6: as the ones that are in the book.
• 1:02:07
  Speaker 5: I something I'm you know, we don't have the angered
• 1:02:11
  Speaker 5: character from the book in the movie, and we.
• 1:02:14
  Speaker 4: Don't like It's not like that. I don't think we
• 1:02:17
  Speaker 4: in the book.
• 1:02:18
  Speaker 5: We don't like Duke Jordan the same way that we
• 1:02:20
  Speaker 5: like him as portrayed by Sean Connery, but the way
• 1:02:23
  Speaker 5: that he goes back to his lover and kind of
• 1:02:26
  Speaker 5: screws her over in the book just made that that
• 1:02:30
  Speaker 5: was a real bummer for me. I don't think her
• 1:02:33
  Speaker 5: character deserved that at all. And I mean there's another
• 1:02:36
  Speaker 5: element that in the book, the reason he went to
• 1:02:39
  Speaker 5: jail was because she wasn't at the meeting spot and
• 1:02:44
  Speaker 5: a she was at her stockbrokers and you know, so
• 1:02:47
  Speaker 5: a cop saw him and he looked out of place,
• 1:02:50
  Speaker 5: and well he had the loot on him. And it's
• 1:02:53
  Speaker 5: it's never revealed whether she left him waiting on purpose
• 1:02:57
  Speaker 5: or whether it was an accident, because it sort of
• 1:03:00
  Speaker 5: fits into the sort of dom aspect that she might
• 1:03:03
  Speaker 5: have left him there to make him a little nervous.
• 1:03:07
  Speaker 5: And throughout the book she's you know, you know, saying like, oh,
• 1:03:11
  Speaker 5: I'm sorry I did this to you, and he's like, no,
• 1:03:13
  Speaker 5: forget about it, you.
• 1:03:14
  Speaker 9: Know, oh I'm sorry, shot sie.
• 1:03:16
  Speaker 5: I Yeah, it's the ending, you know, when he goes
• 1:03:20
  Speaker 5: back to die at her apartment. You know, she of
• 1:03:23
  Speaker 5: course calls the police, but like, you know, she's gonna
• 1:03:26
  Speaker 5: get deported. She's royally screwed, even though she had nothing to.
• 1:03:29
  Speaker 4: Do with this.
• 1:03:32
  Speaker 5: So that's that's our last impression of him in the book.
• 1:03:35
  Speaker 5: It's just, you know, he's slimy.
• 1:03:38
  Speaker 6: He's not the likable character that Connery plays, even though
• 1:03:42
  Speaker 6: I'm not sure what the point of playing him as
• 1:03:44
  Speaker 6: a likable character is other than because we have to
• 1:03:47
  Speaker 6: spend the entire run of the film with him. It
• 1:03:49
  Speaker 6: it's better to make him likable than unlikable.
• 1:03:52
  Speaker 5: But I don't think he's fully likable or dislikable.
• 1:03:55
  Speaker 7: And that's more likable than the character in the book.
• 1:03:58
  Speaker 5: Is, oh, one hundred percent. But I think that's in
• 1:04:01
  Speaker 5: a Connery being a great actor. I think, you know,
• 1:04:04
  Speaker 5: Duke Anderson is a complex character. To me, that's what
• 1:04:08
  Speaker 5: I made it a compelling movie to watch. It's not
• 1:04:11
  Speaker 5: that I'm just watching the ingenious thiefs. I'm watching somebody
• 1:04:16
  Speaker 5: who's evolving throughout the whole movie, and who you know,
• 1:04:19
  Speaker 5: when you get to the end, you don't know how
• 1:04:20
  Speaker 5: they're gonna act or how they're going to react more
• 1:04:23
  Speaker 5: you know which is more appropriate.
• 1:04:25
  Speaker 6: Like driving a car a blue van away really fast
• 1:04:28
  Speaker 6: and dying and getting flipped over and just being dead
• 1:04:31
  Speaker 6: by Christopher Walkin in this my Lord and Nobody, Nobody
• 1:04:35
  Speaker 6: the only people that survive. And you guys mentioned this
• 1:04:37
  Speaker 6: like the bad You know, these guys aren't necessarily the
• 1:04:40
  Speaker 6: best at what they do. Martin Balls and just going
• 1:04:43
  Speaker 6: all right, I just fucking arrest me, like I have
• 1:04:47
  Speaker 6: Martin Balls, like, yeah, you're not even a thief, Like
• 1:04:50
  Speaker 6: you're not even a thief. You're like an antiques dealer.
• 1:04:52
  Speaker 6: And by the way, the amount of times they say
• 1:04:54
  Speaker 6: fag in this.
• 1:04:55
  Speaker 7: Movie, hoo bully, I mean, it doesn't offend me.
• 1:04:59
  Speaker 6: I could care least, but boy boy, they really got
• 1:05:03
  Speaker 6: Martin Balsam's character pegged huh.
• 1:05:05
  Speaker 5: Well, something they don't go into and the move they
• 1:05:09
  Speaker 5: suggest in the movie that he and Duke have a relationship,
• 1:05:13
  Speaker 5: but in the book it's very clear.
• 1:05:15
  Speaker 4: Yeah, which I mean.
• 1:05:17
  Speaker 5: You know again, you know, you know, Duke's relationship with
• 1:05:19
  Speaker 5: all the different people is really fascinating, the way he
• 1:05:22
  Speaker 5: sort of pulls them into this, right because you know,
• 1:05:26
  Speaker 5: I don't I don't know if the Martin Balsam character
• 1:05:29
  Speaker 5: would have gone for this if there wasn't you know,
• 1:05:33
  Speaker 5: if he didn't have a deeper you know, affection isn't
• 1:05:35
  Speaker 5: the right word, but it's clear that he really, you know,
• 1:05:38
  Speaker 5: has this connection. You know, I think he's really attracted
• 1:05:41
  Speaker 5: to Duke, and you know, you know, at the end,
• 1:05:44
  Speaker 5: he can't go through with it, Like he can't even
• 1:05:46
  Speaker 5: run away. He's just like, I have to give up
• 1:05:48
  Speaker 5: now because this is not who I am. I liked
• 1:05:51
  Speaker 5: that moment. I thought that was one of the most
• 1:05:52
  Speaker 5: interesting moments for his character and for Duke to you know,
• 1:05:56
  Speaker 5: basically tell him just take off your master and be fine.
• 1:05:59
  Speaker 5: Like the now we're back to the comforting Duke, Like,
• 1:06:02
  Speaker 5: you know, for for once, he's actually saying something nice
• 1:06:05
  Speaker 5: to this guy. He's not trying to screw him over.
• 1:06:08
  Speaker 5: He could have recommended that he I'll take care of you.
• 1:06:11
  Speaker 5: We'll get out of this alive. That was like an honest,
• 1:06:14
  Speaker 5: kind thing to say. But he's not honest for a
• 1:06:17
  Speaker 5: lot of the movie.
• 1:06:19
  Speaker 7: It's a weird way.
• 1:06:20
  Speaker 5: I take that back, like is he honest? He's kind
• 1:06:23
  Speaker 5: of honest to Diane Cannon that he's going to rob
• 1:06:25
  Speaker 5: this place, and like.
• 1:06:26
  Speaker 6: The first seed that they share together, he's like, I'm
• 1:06:28
  Speaker 6: just going to rob this place, like has some for
• 1:06:30
  Speaker 6: play Bro cuts right to the chase.
• 1:06:32
  Speaker 5: I think you're right that it is for play though.
• 1:06:34
  Speaker 5: That's thing is Yeah, but that's what's so interesting about
• 1:06:38
  Speaker 5: his characters. You know, he's sort of being the sort
• 1:06:40
  Speaker 5: of macho like smart thief. That's just oh, yeah, I'm
• 1:06:44
  Speaker 5: going to rob this place. I'm gonna take all your neighbors.
• 1:06:46
  Speaker 5: You know, I don't care that it might screw you
• 1:06:48
  Speaker 5: over and have you implicate it.
• 1:06:50
  Speaker 4: I'm going to do it.
• 1:06:51
  Speaker 5: You almost wonder if he decided to do this heist
• 1:06:54
  Speaker 5: just to impress her.
• 1:06:55
  Speaker 9: Yeah. Yeah, it is a weird relationship that they have,
• 1:06:58
  Speaker 9: and I it's it's very interesting. Like I said that
• 1:07:01
  Speaker 9: they had this previous relationship, so when he shows up,
• 1:07:05
  Speaker 9: it's just I mean, Panti's off within what two minutes
• 1:07:09
  Speaker 9: maybe not even and nineteen seventy Sean Connery. You don't
• 1:07:15
  Speaker 9: can blame a girl.
• 1:07:16
  Speaker 7: Yeah, yeah, blame but yeah.
• 1:07:18
  Speaker 9: I was just like, okay, well this is interesting. They
• 1:07:21
  Speaker 9: know each other, like what does she think about him
• 1:07:24
  Speaker 9: being in prison and just that whole like I haven't
• 1:07:26
  Speaker 9: had section ten years or whatever. It's like, okay, yeah,
• 1:07:29
  Speaker 9: she's ready for it.
• 1:07:31
  Speaker 6: I honestly love that. That's the that's the intensity he
• 1:07:35
  Speaker 6: shows up with. I haven't had sexy.
• 1:07:37
  Speaker 7: Ten years, eight months, three days, and four hours.
• 1:07:41
  Speaker 6: It's likely shuts of blue bottles on me, like I
• 1:07:44
  Speaker 6: bet we bet Connory.
• 1:07:46
  Speaker 9: Oh yeah, yeah, he's yeah.
• 1:07:48
  Speaker 7: This sexy man. Like I get it.
• 1:07:50
  Speaker 6: I get it, Like I am not complaining about seeing
• 1:07:53
  Speaker 6: Sean Connery on screen, and it is believable that he
• 1:07:56
  Speaker 6: just walks into a room and it's like if he
• 1:07:59
  Speaker 6: has your attention and you have his attention, I get it.
• 1:08:01
  Speaker 7: I get it.
• 1:08:02
  Speaker 9: Oh yeah, but I love that he's going on natural
• 1:08:05
  Speaker 9: with the hair too, and it looks good. He's aging gracefully.
• 1:08:10
  Speaker 5: What was the Is it seven years between this and
• 1:08:13
  Speaker 5: The Hill?
• 1:08:14
  Speaker 9: I think you're well, it was it sixty five. I
• 1:08:17
  Speaker 9: can't remember.
• 1:08:18
  Speaker 4: Where Will was.
• 1:08:19
  Speaker 5: You can find this out, Yeah it is sixty five,
• 1:08:23
  Speaker 5: so six years.
• 1:08:24
  Speaker 9: Okay.
• 1:08:25
  Speaker 4: Yeah.
• 1:08:26
  Speaker 5: I watched that the other night since you all had
• 1:08:29
  Speaker 5: covered it last weekend. I'd been meaning to see that
• 1:08:31
  Speaker 5: for ages and god, damn, that movie's great, right good?
• 1:08:36
  Speaker 4: I was.
• 1:08:37
  Speaker 5: I think I told Chris I was during that the
• 1:08:40
  Speaker 5: final scene, I was like holding back tears. That's a heartbreaking,
• 1:08:47
  Speaker 5: just devastating ending. Yes, I mean, if you all want
• 1:08:51
  Speaker 5: to do like a second podcast about the Hill, like
• 1:08:53
  Speaker 5: I'm ready right now.
• 1:08:56
  Speaker 9: Should we invite you back for the offense?
• 1:08:59
  Speaker 4: I haven't seen the I I've been meaning to for Ages.
• 1:09:03
  Speaker 7: And another that's the other other Lamette.
• 1:09:05
  Speaker 9: Uh yeah, I think also What Family Business, which I
• 1:09:09
  Speaker 9: think I saw when it was at the theater, But man,
• 1:09:13
  Speaker 9: oh man, it was not a movie for me at
• 1:09:15
  Speaker 9: that time.
• 1:09:15
  Speaker 7: What is it with Connory and Lumette? They just worked
• 1:09:18
  Speaker 7: so well together?
• 1:09:18
  Speaker 6: Huh?
• 1:09:19
  Speaker 7: They fans of one another.
• 1:09:21
  Speaker 9: It feels like Lumett had certain actress that he'd liked
• 1:09:24
  Speaker 9: working with, and Connory was definitely one of them.
• 1:09:26
  Speaker 6: Well, it's you know, I mean again, he seems to
• 1:09:28
  Speaker 6: get a pretty great performance out of Connery in the
• 1:09:31
  Speaker 6: last two films.
• 1:09:32
  Speaker 7: I mean he's.
• 1:09:33
  Speaker 6: Batting too for two with What Again. My perception of
• 1:09:37
  Speaker 6: Connery as an actor is definitely starting to kind of
• 1:09:39
  Speaker 6: as we watch these movies, definitely start to move in
• 1:09:42
  Speaker 6: a direction of like all right, Like It's not that
• 1:09:44
  Speaker 6: I didn't get it before, but now I'm seeing and
• 1:09:46
  Speaker 6: I'm like, man, he's just so charismatic, has such a
• 1:09:49
  Speaker 6: presence you can't take your eye off of him. And
• 1:09:51
  Speaker 6: yet even when his hair is like clearly starting to
• 1:09:54
  Speaker 6: like recede and like again, there's a there's a there's
• 1:09:57
  Speaker 6: some feeling of that in Hollywood that that's like, you know,
• 1:09:59
  Speaker 6: you're less masculine. It's like, nah, he still fucking pulls
• 1:10:02
  Speaker 6: it off, man Like, still pulls it off.
• 1:10:05
  Speaker 4: This is such an un James Bond role for him.
• 1:10:08
  Speaker 6: Right well, And that's that was the other thing I
• 1:10:10
  Speaker 6: was gonna say. This comes out literally the last time
• 1:10:12
  Speaker 6: he plays James Bond in an Eon production. This comes
• 1:10:15
  Speaker 6: out the same year that he steps down as James Bond.
• 1:10:18
  Speaker 6: I mean, he comes back and never say never again,
• 1:10:20
  Speaker 6: which feels like beetlejuice every time we have to mention.
• 1:10:23
  Speaker 9: It is that, right. I thought that he made making
• 1:10:26
  Speaker 9: the offense part of his deal to come back for
• 1:10:28
  Speaker 9: Diamonds Are Forever.
• 1:10:31
  Speaker 7: Came out the same year as this film.
• 1:10:33
  Speaker 9: Okay, well I wonder that maybe, yeah, because there's something
• 1:10:37
  Speaker 9: to do I want to and I don't think it
• 1:10:39
  Speaker 9: was this film. I think it is the offense that
• 1:10:41
  Speaker 9: that was part of his deal. I'll come back and
• 1:10:44
  Speaker 9: do Bond, but you give me money for this for
• 1:10:47
  Speaker 9: the offense. And then he was also supposed to do
• 1:10:50
  Speaker 9: a version of was it McBeth something?
• 1:10:53
  Speaker 7: And they talk about it and nobody does it better?
• 1:10:56
  Speaker 9: Yeah, and the the Polanski one didn't do that well
• 1:11:01
  Speaker 9: at the box office, so they're like, no, no Macbeth.
• 1:11:03
  Speaker 9: And it was like, guys, you can do Macbeth any
• 1:11:06
  Speaker 9: day of the week, Like, give this man. Can you
• 1:11:08
  Speaker 9: imagine like if he's Sean Connery, if he was playing
• 1:11:11
  Speaker 9: McBeth Jesus Christ.
• 1:11:13
  Speaker 5: I guess Macbeth just didn't have a have a good
• 1:11:15
  Speaker 5: track record.
• 1:11:16
  Speaker 9: Though, I guess not. So we got to punch it up.
• 1:11:18
  Speaker 9: Can we add like a sexy lady and you know,
• 1:11:22
  Speaker 9: like I don't know, like a gunfight or something in there.
• 1:11:25
  Speaker 9: Would that be good? We can have like boz Lhrman
• 1:11:27
  Speaker 9: direct it, it'd be pretty cool.
• 1:11:29
  Speaker 7: All right, you're really you really you peaked.
• 1:11:31
  Speaker 9: My interest now yeah?
• 1:11:33
  Speaker 4: Yeah, god, so we've got two movies to produce.
• 1:11:37
  Speaker 1: Now.
• 1:11:37
  Speaker 5: We're gonna do an Anderson Tapes remake and uh, we're
• 1:11:40
  Speaker 5: gonna do a boz Lerman Macbeth.
• 1:11:44
  Speaker 6: Yeah, with a production designed by Guy Madden. Oh okay, sure,
• 1:11:50
  Speaker 6: exactly like what I mean, yeah, I would.
• 1:11:52
  Speaker 9: Yeah, I'm not going to turn that down right.
• 1:11:55
  Speaker 5: I would also just watch a Guy Madden Macbeth like.
• 1:11:58
  Speaker 9: Oh fuck, yeah, well his track that was amazing.
• 1:12:01
  Speaker 4: I haven't seen that yet.
• 1:12:02
  Speaker 9: Now it's like based on a ballet, if memory serves.
• 1:12:06
  Speaker 6: I feel like the biggest missed opportunity this month is that, Mike,
• 1:12:09
  Speaker 6: you didn't pick Zardas. I feel like that's just because
• 1:12:13
  Speaker 6: everybody's covered it to death, including you.
• 1:12:17
  Speaker 7: You.
• 1:12:18
  Speaker 6: So it's like I don't get to see Sean Connery's
• 1:12:20
  Speaker 6: sexy nakedness in full effect. I just have to imagine
• 1:12:23
  Speaker 6: what it would be if I did get to see it.
• 1:12:25
  Speaker 6: To be fair, I've also covered zar Dos like a
• 1:12:27
  Speaker 6: million years ago, So so.
• 1:12:29
  Speaker 4: What comes after the offense?
• 1:12:31
  Speaker 9: After the offense, I think we're doing wrong as right
• 1:12:34
  Speaker 9: is wrong, and then we'll be doing in the name
• 1:12:37
  Speaker 9: of the Rose. And that's it right where we're talking
• 1:12:40
  Speaker 9: about I think we were talking about doing because who
• 1:12:43
  Speaker 9: wanted to do something and I'm trying to remember what
• 1:12:45
  Speaker 9: it was you wanted to do.
• 1:12:47
  Speaker 7: Of extraordinary gentlemen.
• 1:12:49
  Speaker 9: Yes, Oh, I thought there was something that I actually
• 1:12:52
  Speaker 9: wanted to see.
• 1:12:53
  Speaker 7: I don't know what was there.
• 1:12:57
  Speaker 6: Something we had talked about was probably in the last episode.
• 1:13:00
  Speaker 6: I think we're like, oh, yeah, we should do this
• 1:13:01
  Speaker 6: because this sounds good. Was it, Dragon Hart?
• 1:13:04
  Speaker 9: No, No, it definitely wasn't Dragon, Like I said, it's
• 1:13:06
  Speaker 9: something I want to see.
• 1:13:07
  Speaker 6: So, sir Billy, is it the Is it the movie
• 1:13:12
  Speaker 6: where he's the skateboarding?
• 1:13:14
  Speaker 9: Oh?
• 1:13:14
  Speaker 4: That must be.
• 1:13:15
  Speaker 7: Oh no, I know what it was?
• 1:13:17
  Speaker 9: The Adventures the Avengers. Yes, we want to do the Avengers.
• 1:13:20
  Speaker 7: That's what it is. We want to have You ever
• 1:13:22
  Speaker 7: seen that, Cullen.
• 1:13:23
  Speaker 5: Yeah, I mean back when it came out, back when.
• 1:13:25
  Speaker 7: You were like in your teens like I would have been.
• 1:13:28
  Speaker 7: He came out of nineteen ninety eight.
• 1:13:31
  Speaker 5: I would have been a teenager at that point. Yes, yeah, y'all,
• 1:13:35
  Speaker 5: y'all aren't going to do Okay Connery with Shawn's brother.
• 1:13:38
  Speaker 9: No, I wanted to do that for ranking on Bond,
• 1:13:40
  Speaker 9: but nobody bought into.
• 1:13:43
  Speaker 7: Richard said no, Richard.
• 1:13:46
  Speaker 5: What if can someone ask Richard why you said no?
• 1:13:48
  Speaker 6: We suld you could also ask Richard why he said
• 1:13:51
  Speaker 6: no to the Elvis movie podcast as well.
• 1:13:54
  Speaker 4: Yeah, I love Elvis's like you.
• 1:13:57
  Speaker 5: I mean they were going through all of Elvis's meeting you.
• 1:14:00
  Speaker 9: I love love.
• 1:14:02
  Speaker 7: That was the idea him get in his ear about it.
• 1:14:06
  Speaker 7: He shot it down straight up.
• 1:14:09
  Speaker 5: I rewatched clam Bake the other day, which.
• 1:14:11
  Speaker 9: Is just it's so good clam bake? Are you gonna
• 1:14:15
  Speaker 9: have a clam bake? Y?
• 1:14:17
  Speaker 5: I absolutely adore that movie.
• 1:14:19
  Speaker 7: Richard had him just said no, he said, and they.
• 1:14:21
  Speaker 5: Nay, that's such a ship.
• 1:14:25
  Speaker 6: Yeah, I'm we love I heard Cheerson Ford podcast will
• 1:14:30
  Speaker 6: yield all sorts of unexpected fun. And we'll get to
• 1:14:34
  Speaker 6: cover a Sean Connery movie at some point, you know,
• 1:14:37
  Speaker 6: we'll get to cover Indiana Jones in the Last.
• 1:14:39
  Speaker 7: Crusade, which is a Sean Connery film.
• 1:14:41
  Speaker 4: It's no clambake, No.
• 1:14:43
  Speaker 9: No, it's not no. Uh, it's no Stay Away Joe either.
• 1:14:47
  Speaker 5: Which is the one that Elvis has to get a job.
• 1:14:52
  Speaker 5: So he applies to two different places and he gets
• 1:14:54
  Speaker 5: them both and they're in the same building but on
• 1:14:56
  Speaker 5: different floors with different uniforms, just running back and forth
• 1:15:02
  Speaker 5: between the two.
• 1:15:02
  Speaker 4: Trouble.
• 1:15:03
  Speaker 9: Yeah, I don't remember, Oh god, I would see. And
• 1:15:06
  Speaker 9: that's the thing is, I have big gaps in my
• 1:15:08
  Speaker 9: Elvis movie knowledge. I was hoping to close those up.
• 1:15:10
  Speaker 4: Finally I went through.
• 1:15:12
  Speaker 5: I watched all of them, and I bought them all
• 1:15:14
  Speaker 5: on DVD, and when I moved, I stupidly purged and
• 1:15:18
  Speaker 5: sold them all And so I've now started to rebuy
• 1:15:20
  Speaker 5: them all because I for myself, like I can't have
• 1:15:23
  Speaker 5: just one Elvis movie. I need all of them because
• 1:15:26
  Speaker 5: if I'm gonna watch one Elvis movie, I just have
• 1:15:29
  Speaker 5: to start doing them all again. I don't even have
• 1:15:31
  Speaker 5: I think I have more Elvis movies than I do
• 1:15:33
  Speaker 5: Elvis records.
• 1:15:34
  Speaker 4: And if you can tell.
• 1:15:36
  Speaker 5: I get excited about Elvis as a movie star.
• 1:15:39
  Speaker 9: Yeah, yeah, I love Elvis's movie.
• 1:15:41
  Speaker 5: I haven't seen The Carpenter Elvis, and I'm bummed I
• 1:15:45
  Speaker 5: missed that. Wasn't there just a boz Lerman thing where
• 1:15:48
  Speaker 5: they found a concert?
• 1:15:50
  Speaker 9: Was amazing?
• 1:15:52
  Speaker 4: Oh?
• 1:15:53
  Speaker 9: Absolutely amazing.
• 1:15:55
  Speaker 5: I think that's where the idea for me.
• 1:15:56
  Speaker 6: The wasn't that what like spurned on your idea of
• 1:16:00
  Speaker 6: doing that Elvis podcast? Was you going to see that
• 1:16:02
  Speaker 6: or it coming out those a couple months ago? Like
• 1:16:04
  Speaker 6: two months ago?
• 1:16:04
  Speaker 9: Now, I've always yeah, but I've always been an Elvis fan,
• 1:16:07
  Speaker 9: so I mean, well, not always, but I went through
• 1:16:09
  Speaker 9: a real heavy period when I was about went Tea,
• 1:16:13
  Speaker 9: when I was doing a documentary about Sherman Arnold, the
• 1:16:16
  Speaker 9: Elvis tribute artist, and I was just really into Elvis stuff.
• 1:16:20
  Speaker 9: And I remember going to Graceland and then finding out
• 1:16:23
  Speaker 9: after I went to Graceland that there's a hotel right
• 1:16:26
  Speaker 9: next door to Graceland where they just run Elvis movies
• 1:16:28
  Speaker 9: twenty four to seven under their cable and I'm like, yes,
• 1:16:31
  Speaker 9: that sounds amazing.
• 1:16:33
  Speaker 5: Please if I go back to Graceland, MI, I'll try
• 1:16:37
  Speaker 5: to figure out a way for you to go at
• 1:16:38
  Speaker 5: the same time, because I went by myself and oh
• 1:16:42
  Speaker 5: I had food poisoning and I was like on my
• 1:16:45
  Speaker 5: way to the airport just trying to hold it together.
• 1:16:48
  Speaker 5: And Graceland is amazing, But the Graceland experience for me
• 1:16:53
  Speaker 5: was so underwhelming because the tour guide was just an
• 1:16:57
  Speaker 5: iPad that was narrated I think by John Stamos.
• 1:17:00
  Speaker 9: And most of them had a real tour guide.
• 1:17:03
  Speaker 5: The other people on the tour were just families where
• 1:17:06
  Speaker 5: the kids weren't even looking at the iPad.
• 1:17:08
  Speaker 4: They were just on their phones.
• 1:17:09
  Speaker 5: And I'm like, I want to I want to be
• 1:17:11
  Speaker 5: around some crazy Elvis fans. And then I remember the
• 1:17:14
  Speaker 5: shop and there was nothing I wanted, like Elvis Camo
• 1:17:18
  Speaker 5: T shirts or something weird, and everything was so normal.
• 1:17:21
  Speaker 9: There was a we had a real tour guide, and
• 1:17:24
  Speaker 9: there was somebody on our tour who asked her how
• 1:17:27
  Speaker 9: much Elvis weighed when he passed away, and and the
• 1:17:30
  Speaker 9: tour guide had a straight face and she said, oh,
• 1:17:32
  Speaker 9: he was two hundred and twenty pounds. Said yep, sure, I.
• 1:17:37
  Speaker 6: Would believe it even if it wasn't true. But I'm
• 1:17:39
  Speaker 6: not going to go and research that to find out
• 1:17:41
  Speaker 6: the answer.
• 1:17:42
  Speaker 9: Yeah. But yeah, we got to see that living room
• 1:17:46
  Speaker 9: where the teacher were, Yes, the jungle room where they
• 1:17:49
  Speaker 9: recorded that album and everything. Oh yeah, it was It
• 1:17:51
  Speaker 9: was wonderful. I even went on to Lisa Marie and
• 1:17:55
  Speaker 9: saw how he pimped out that plane. Yeah, it's amazing.
• 1:18:00
  Speaker 9: At the car museum where you get to see the
• 1:18:02
  Speaker 9: purple Cadillac and all that.
• 1:18:04
  Speaker 5: Oh yeah, we'll go back, Okay, record on location.
• 1:18:08
  Speaker 9: Do you know what My favorite part of Graceland was
• 1:18:11
  Speaker 9: calling and maybe as a nerd you can you can
• 1:18:13
  Speaker 9: sympathize with me. I was going through like they had
• 1:18:17
  Speaker 9: a display and it was like some of Elvis's personal
• 1:18:20
  Speaker 9: stuff and he had like a three quarter inch humatic
• 1:18:24
  Speaker 9: video player and he had on a three quarter inch
• 1:18:29
  Speaker 9: tape he had Monty Python and the Holy Grail and
• 1:18:33
  Speaker 9: it was like handwritten on there like somehow he got
• 1:18:36
  Speaker 9: a three quarter inch copy of Monty Python and the
• 1:18:38
  Speaker 9: Holy Grail. Amazing, And I'm just picturing Elvis laughing his
• 1:18:42
  Speaker 9: tits off at Monty Python.
• 1:18:44
  Speaker 7: Hey man, that's funny.
• 1:18:45
  Speaker 2: Man.
• 1:18:45
  Speaker 7: I won't tell you. I'm just now I will tell you.
• 1:18:49
  Speaker 5: I'm now just picturing MST three K style with Elvis
• 1:18:53
  Speaker 5: in silhouette.
• 1:18:54
  Speaker 4: But watching that movie, I was like.
• 1:18:57
  Speaker 6: A giangonia popatur Oh god man that Oh and he's
• 1:19:03
  Speaker 6: dead too, which means uh well, which means you can
• 1:19:06
  Speaker 6: just take it and run with it.
• 1:19:07
  Speaker 5: I guess I would love to see Elvis crow and Tom.
• 1:19:13
  Speaker 6: Yeah, Elvis man, what yeah? He just he must have
• 1:19:16
  Speaker 6: had a hell of a time with Monty Python. Oh boy,
• 1:19:19
  Speaker 6: from fucking.
• 1:19:20
  Speaker 7: The PODU enjoying himself fucking laughing it up.
• 1:19:26
  Speaker 5: Lord.
• 1:19:27
  Speaker 6: It feels like almost if Culin ever had the time,
• 1:19:30
  Speaker 6: that would be a podcast for the three of.
• 1:19:32
  Speaker 7: Us to do.
• 1:19:33
  Speaker 9: Clearly, I agree.
• 1:19:35
  Speaker 6: Clearly, Culin, we have to drag Colin out of retirement
• 1:19:39
  Speaker 6: because Richard had him, just wouldn't wouldn't grace us with
• 1:19:42
  Speaker 6: his Elvis present said quote, this podcast ain't big enough
• 1:19:45
  Speaker 6: for the two of us.
• 1:19:46
  Speaker 5: It is a very tempting offer, but I need to
• 1:19:50
  Speaker 5: I would have to look at scheduling because I I
• 1:19:52
  Speaker 5: don't understand how y'all do as many podcasts as you do.
• 1:19:56
  Speaker 5: It's I feel like the few I come on is
• 1:20:00
  Speaker 5: like exhausted, and I don't know how you all have
• 1:20:05
  Speaker 5: the stamina to just between the watching, the rewatching the research.
• 1:20:10
  Speaker 7: I ate a lot of white rhinoceros horn.
• 1:20:13
  Speaker 4: I don't understand, Mike.
• 1:20:14
  Speaker 7: It's a lot of deer horn velvet too.
• 1:20:16
  Speaker 9: Yeah, it's all about this. It's the potency.
• 1:20:19
  Speaker 7: It's always they always do that arm gesture when they
• 1:20:22
  Speaker 7: talk about male stamina and vitality. I eat deer penis
• 1:20:26
  Speaker 7: because it's good for the stamina.
• 1:20:28
  Speaker 9: She talks about this, dear Japanese businessman, your salarymen.
• 1:20:32
  Speaker 7: Basically, Yeah, we're just making jokes about Western medicine here, Cohen.
• 1:20:36
  Speaker 6: Yeah, okay, like Asian medicine where they you know, they
• 1:20:39
  Speaker 6: all these things for the vitality. You know, you asked
• 1:20:41
  Speaker 6: how we had the stamina, so that's how.
• 1:20:43
  Speaker 7: Yeah, silkworm tea.
• 1:20:45
  Speaker 9: I mean we're not We're not going to hide it,
• 1:20:48
  Speaker 9: you know, clearly.
• 1:20:50
  Speaker 6: Dear penis extract applied directly to my PERENEU.
• 1:20:53
  Speaker 5: I'm still hyper from having a coca Cola at lunch.
• 1:20:57
  Speaker 7: How do you guys do it?
• 1:21:00
  Speaker 6: I take a moth larva and I inject them directly
• 1:21:04
  Speaker 6: into my pineal gland, and I let them grow in
• 1:21:06
  Speaker 6: there and they excrete a hormone that allows me to
• 1:21:10
  Speaker 6: get fifteen minutes more out of every hour every.
• 1:21:12
  Speaker 5: Day, Coled, amazing. M h.
• 1:21:14
  Speaker 7: It's a risky procedure. I wouldn't advise you to do it.
• 1:21:17
  Speaker 9: I use a time turner that Professor Professor dumble Door Secreted.
• 1:21:23
  Speaker 7: Gave you in the third act of the Moon.
• 1:21:25
  Speaker 9: Yeah, that's why. That's why I can study so much.
• 1:21:29
  Speaker 6: That's right, man, what a good use of time travel
• 1:21:32
  Speaker 6: allows me to study more fucking British nerds.
• 1:21:37
  Speaker 5: I'm surprised we didn't talk more about the conversation.
• 1:21:39
  Speaker 7: Well I did.
• 1:21:40
  Speaker 6: I mentioned a couple things, but I think, yeah, we
• 1:21:43
  Speaker 6: never we never got all the way to the gene
• 1:21:46
  Speaker 6: hackman of it all.
• 1:21:47
  Speaker 4: But I think that's actually a good thing.
• 1:21:49
  Speaker 5: Like I expected this to be more like comparing the two,
• 1:21:53
  Speaker 5: I think it was a more interesting conversation. No pun in,
• 1:21:57
  Speaker 5: not even a pun. I didn't mean to make that joke.
• 1:22:00
  Speaker 5: I thought it was a more interesting podcast recording session
• 1:22:04
  Speaker 5: to not have it focus on the most immediate comparison,
• 1:22:09
  Speaker 5: right right.
• 1:22:10
  Speaker 6: I think it's I think it's good enough to stand
• 1:22:12
  Speaker 6: on its own, but I don't think it's I mean
• 1:22:13
  Speaker 6: in terms of quality. I mean, obviously the conversation is is.
• 1:22:17
  Speaker 9: Oh well, if we're comparing, I mean, the conversation is
• 1:22:20
  Speaker 9: a superior movie. But I have a hell of a
• 1:22:22
  Speaker 9: lot of fun with the Anderson take.
• 1:22:24
  Speaker 6: Yeah, yeah, it's it's a superior movie, but it's Yeah,
• 1:22:26
  Speaker 6: this movie is still fun. The Sean Connery of it
• 1:22:28
  Speaker 6: all makes it worthwhile, and the fact that it's a
• 1:22:30
  Speaker 6: Lumette and Walkin's first film this and I mean, the
• 1:22:33
  Speaker 6: Martin Balism of it all. I think everything works in
• 1:22:35
  Speaker 6: the film's favor. I think it's almost unfortunate that there
• 1:22:38
  Speaker 6: is a book to compare it to, because we probably
• 1:22:40
  Speaker 6: compared it more to the book on this podcast than
• 1:22:42
  Speaker 6: we compared it to anything else. Really, Yeah, this.
• 1:22:45
  Speaker 5: Isn't It's not Lunette's best movie, but I think it's terrific.
• 1:22:49
  Speaker 5: I think I like the idea of the book more
• 1:22:52
  Speaker 5: than I do. I'm just gonna have to rewrite this. Yeah,
• 1:22:55
  Speaker 5: I even want to say that Essex I was saying,
• 1:22:57
  Speaker 5: I feel like the storiness. To me, it's just like
• 1:23:00
  Speaker 5: Lionel White, but Lionel White does it better. But the
• 1:23:04
  Speaker 5: conceit of how it's organized chapter by chapter, not just
• 1:23:09
  Speaker 5: with one type of surveillance, but as the chapters go
• 1:23:12
  Speaker 5: on there's different types of surveillance. They really get into,
• 1:23:16
  Speaker 5: you know, he really gets into the different reasons for
• 1:23:18
  Speaker 5: why the surveillance is happening. He gets into the technology, Mike,
• 1:23:22
  Speaker 5: as you pointed out, there is the chapters where because
• 1:23:26
  Speaker 5: there's either interference or bad microphones or the tape gets garbled.
• 1:23:31
  Speaker 5: He really has so much fun with the form. Like
• 1:23:34
  Speaker 5: that's what's great about the book in my opinion. But yeah,
• 1:23:36
  Speaker 5: I think it's a terrific movie. It's no, it's no Curproco,
• 1:23:39
  Speaker 5: but it's it's no The Hill, but it's.
• 1:23:43
  Speaker 9: It's better than Superco. But I've only seen Superco once.
• 1:23:45
  Speaker 9: I just remember laughing at Curproco, like when it's like
• 1:23:49
  Speaker 9: they do a hard cut to al Pacino is like
• 1:23:51
  Speaker 9: a hacidic jew and I'm just like, oh my god,
• 1:23:53
  Speaker 9: that is so fucking funny.
• 1:23:55
  Speaker 7: It sounds funny, but you're just describing it.
• 1:23:57
  Speaker 9: So yeah, I maybe I knew to go back and
• 1:24:00
  Speaker 9: try that one again. But I'm just like, ah, you
• 1:24:03
  Speaker 9: can keep out put you you know, give me shot
• 1:24:05
  Speaker 9: on Connery.
• 1:24:06
  Speaker 5: I haven't seen it, Curpico, I haven't seen Zupico in ages.
• 1:24:09
  Speaker 5: But maybe I could have picked a different one. It's
• 1:24:11
  Speaker 5: no the Hill, which I saw two nights ago and loved.
• 1:24:15
  Speaker 5: But yeah, I quite enjoyed going back to the Anderson tapes.
• 1:24:20
  Speaker 5: I'm glad I have my Martini Movies DVD and I
• 1:24:24
  Speaker 5: will be watching it again.
• 1:24:26
  Speaker 9: What about you, Mike, Yeah, a lot of fun. I'm
• 1:24:28
  Speaker 9: really glad that I was able to finally talk about
• 1:24:31
  Speaker 9: this movie after all these years and watching that on
• 1:24:33
  Speaker 9: you know, WKBD in Detroit here like on a you know,
• 1:24:37
  Speaker 9: Sunday afternoon. It's a perfect dead for noon type of movie.
• 1:24:41
  Speaker 9: But yeah, I'm just so glad that we were able
• 1:24:43
  Speaker 9: to dig into this one a little bit more.
• 1:24:46
  Speaker 7: Yeah.
• 1:24:46
  Speaker 6: No, I I enjoyed the conversation. I enjoyed the film.
• 1:24:48
  Speaker 6: I think, you know, in terms of Connory trying to
• 1:24:51
  Speaker 6: break out of the bond mold, this is a very
• 1:24:54
  Speaker 6: interesting direction to take your career, to try to go
• 1:24:57
  Speaker 6: in a different direction. And yeah, you know, I I
• 1:25:00
  Speaker 6: never know what to expect going into Mike White May
• 1:25:02
  Speaker 6: or March, depending on the year. But you know, you're
• 1:25:05
  Speaker 6: still bat in two for two. You rarely throw in
• 1:25:07
  Speaker 6: a dud other than when it's literally just bad Robin
• 1:25:11
  Speaker 6: Williams movies, so you know, but the intention there was
• 1:25:14
  Speaker 6: for them to not be great, so I guess they
• 1:25:16
  Speaker 6: weren't bad.
• 1:25:17
  Speaker 7: In twelve, Well, Patch Adams wasn't great.
• 1:25:21
  Speaker 4: How does that compare to Man of the Year.
• 1:25:23
  Speaker 6: Patch Adams broke? Who is that Mark Begley that was
• 1:25:27
  Speaker 6: on there with us where it just like broke him completely?
• 1:25:29
  Speaker 4: I think it did.
• 1:25:30
  Speaker 9: Yeah, but Man of the Year for me is still
• 1:25:32
  Speaker 9: the worst film, especially in twenty twenty six, looking at
• 1:25:35
  Speaker 9: that and you're just like, yep, yep.
• 1:25:39
  Speaker 7: Yeah yeah. I mean the subject matter for Man of
• 1:25:42
  Speaker 7: the Year was pretty bad, but I know.
• 1:25:43
  Speaker 9: The execution too.
• 1:25:45
  Speaker 6: Yeah yeah, But I don't know Patch Adams. I think
• 1:25:48
  Speaker 6: his worst Patch Adams is that like Maudlin Saccharin children
• 1:25:52
  Speaker 6: with Cancer and Robin Williams is a clown laughing for them,
• 1:25:55
  Speaker 6: like it's just I don't know. I always am more
• 1:25:57
  Speaker 6: icked out by that, So.
• 1:25:59
  Speaker 4: I don't want to see that movie.
• 1:26:01
  Speaker 6: Yeah, well I didn't either, So Mark Begley was broken.
• 1:26:05
  Speaker 7: I think accordingly it would seem so, but no, this
• 1:26:10
  Speaker 7: was this was a good movie.
• 1:26:11
  Speaker 6: I'm excited to kind of see what other Connery films
• 1:26:13
  Speaker 6: we have, and I am excited to move outside of
• 1:26:16
  Speaker 6: the lumette of it, although we have one more lumet.
• 1:26:18
  Speaker 6: So yeah, So we'll take a break and we'll play
• 1:26:20
  Speaker 6: a preview for that that film.
• 1:26:48
  Speaker 12: From weirding Way Media, Cambridge, and with Shawn is a
• 1:26:51
  Speaker 12: podcast about two guys obsessions, passions and hobbies. Those two
• 1:26:55
  Speaker 12: guys are.
• 1:26:56
  Speaker 10: Mark Bigley, host of Wake Up Heavy Recollections of Horror.
• 1:26:59
  Speaker 12: And Ronald Zuriggian, host of the Skelevator YouTube channel.
• 1:27:03
  Speaker 10: Each month, we talk about the toys, comics, movies, books,
• 1:27:06
  Speaker 10: TV shows, and other cultural phenomena that captured our imaginations
• 1:27:11
  Speaker 10: and helped shape who we are today.
• 1:27:13
  Speaker 12: From Masters of the Universe to Saturday Night Live, Star
• 1:27:16
  Speaker 12: Wars to Harry Houdini, the Muppets to The Elephant Man.
• 1:27:20
  Speaker 12: Ronnie and Mark dive deep into the recesses of their
• 1:27:23
  Speaker 12: minds to pull out treasured memories of things lost but
• 1:27:26
  Speaker 12: never forgotten.
• 1:27:27
  Speaker 10: Join us on the first Tuesday of each month over
• 1:27:30
  Speaker 10: at Weirdinwaymedia dot com or wherever you listen to podcasts.
• 1:27:36
  Speaker 3: Join me Jamie Benning on the Filmmentaries podcast, particularly if
• 1:27:40
  Speaker 3: you enjoy stories like designer Nila Rhodis Jamiro convincing George
• 1:27:45
  Speaker 3: Lucas to push him around to help gain the support
• 1:27:47
  Speaker 3: of his crew on the Ailing Howard the duck.
• 1:27:50
  Speaker 9: Plam, the door opens, It's George.
• 1:27:52
  Speaker 1: Everybody gas.
• 1:27:53
  Speaker 8: George makes a b line to me, I'm literally back
• 1:27:57
  Speaker 8: against the wall.
• 1:27:58
  Speaker 3: Well here puppeteer Tim Rose's emotional story behind that iconic
• 1:28:02
  Speaker 3: admurl acbar shot in Return of the Jedi.
• 1:28:04
  Speaker 2: I believe it or something to be proud of, but
• 1:28:08
  Speaker 2: not the Cellburg.
• 1:28:09
  Speaker 4: Or how Star was.
• 1:28:10
  Speaker 3: Editor Paul Hirsch tackled cutting so many successful films.
• 1:28:13
  Speaker 9: The thing that I learned from work with the Palm
• 1:28:15
  Speaker 9: is that tension depends on a clock.
• 1:28:18
  Speaker 1: You need to have the sense that time is running out.
• 1:28:20
  Speaker 3: Maybe Oscar winning sound designer Mark Mangini's insightful chat about
• 1:28:24
  Speaker 3: his work on Blade Runner twenty forty nine.
• 1:28:27
  Speaker 7: Not a single sound from the original Blade Runner in
• 1:28:30
  Speaker 7: the new film A great deal of inspiration.
• 1:28:33
  Speaker 3: That's the film Youmentary's podcast with me Jamie Benning.
• 1:28:37
  Speaker 6: Hello, Twisted humans.
• 1:28:39
  Speaker 9: Do you find yourself wanting to know more about the
• 1:28:42
  Speaker 9: latest murder, conspiracy, cult or haunting.
• 1:28:45
  Speaker 1: Than this is the podcast for you. In nineteen fifty two,
• 1:28:49
  Speaker 1: there was a record high of UFOs reported fifteen hundred sightings.
• 1:28:55
  Speaker 12: There has been evidence of human sacrifice, double warsh, and
• 1:29:00
  Speaker 12: it is haunted by more spirits than can be counted.
• 1:29:04
  Speaker 9: A family of two adults and two kids reportedly.
• 1:29:07
  Speaker 4: Saw a giant flying thing with glowing red eyes.
• 1:29:11
  Speaker 12: And meanwhile, the family's nanny that helped Veronica to care
• 1:29:15
  Speaker 12: for her and Lucian's children, was found bludgeoned to death
• 1:29:18
  Speaker 12: in the basement of their family home.
• 1:29:20
  Speaker 9: I'm Alicia and I'm Sierra and this is twisted and uncorked.
• 1:30:02
  Speaker 1: See Lee, remember that you haven't that, don you know?
• 1:30:25
  Speaker 2: D d.
• 1:31:16
  Speaker 5: Good, Oh my god.
• 1:31:23
  Speaker 8: Constable Turns Cunning McConnell reported station office. Immediately he tet
• 1:31:30
  Speaker 8: reported detective achieve Inspection Office. So detected consta belongs to
• 1:31:34
  Speaker 8: them by report inspect the cameras Constables Turner, David cunconnell.
• 1:31:42
  Speaker 6: So yeah, when we get back on the next episode,
• 1:31:44
  Speaker 6: we'll be talking about the offense, which is another Sean
• 1:31:47
  Speaker 6: Connery Sidney Lumett film. So until then, where can people
• 1:31:50
  Speaker 6: find you? And the things that you work on.
• 1:31:52
  Speaker 5: Colin Gallagher, they can go to Colin Gallagher dot com
• 1:31:56
  Speaker 5: and I think the most recent thing they will find
• 1:32:00
  Speaker 5: and these they can go from there. They can jump
• 1:32:03
  Speaker 5: to Modernsilentcinema dot com. And I have a new album
• 1:32:08
  Speaker 5: coming out June first, Passages thirty three through forty eight.
• 1:32:14
  Speaker 5: If I can read my Roman numerals correctly, the lo
• 1:32:18
  Speaker 5: fi recordings, instrumental stuff. It's the Passages series. Have started
• 1:32:24
  Speaker 5: as solo piano and this is this one. I throw
• 1:32:28
  Speaker 5: in a little bit of guitar and bass, make make
• 1:32:32
  Speaker 5: it a little weird and noisy, but that'll be out
• 1:32:35
  Speaker 5: June first.
• 1:32:36
  Speaker 9: About you, Mike, Well, everything I do is available on
• 1:32:39
  Speaker 9: the network. You can get this show on which is
• 1:32:41
  Speaker 9: weirderwamedia dot com, with the exception of the show that
• 1:32:44
  Speaker 9: Chris was talking about, Raking on Bond, which wrapping up
• 1:32:48
  Speaker 9: pretty soon. It's wrapping rapidly, So get on over to
• 1:32:52
  Speaker 9: Chris's Patreon at patreon dot com, slash culture cast or
• 1:32:55
  Speaker 9: my patreon at patreon dot com slash Projection booth and listen.
• 1:33:00
  Speaker 9: If you're at the ten dollars and above level, How.
• 1:33:02
  Speaker 6: About Chris, Mike, you did all the heavy lifting for me.
• 1:33:04
  Speaker 6: So weird Media, yeah, thank you. Weirdingwaymedia dot com is
• 1:33:08
  Speaker 6: where you can go to kick a couple dollars. Well, no,
• 1:33:12
  Speaker 6: I guess weirding Way Media. Jesus boy, I was My
• 1:33:15
  Speaker 6: brain just was still on that track. I still was
• 1:33:17
  Speaker 6: going to plug it anyway. Weirding Way Media is where
• 1:33:20
  Speaker 6: you can go to listen to all the shows that
• 1:33:22
  Speaker 6: are on the network, including this one and more importantly
• 1:33:25
  Speaker 6: ADYCV Ladies, the Projection Booth, the Things that I'm Not,
• 1:33:29
  Speaker 6: which are fantastic shows that are award winning in most
• 1:33:34
  Speaker 6: of their cases. So go give those a listen, and yeah, like,
• 1:33:38
  Speaker 6: rate and review all of that on iTunes or Spotify,
• 1:33:40
  Speaker 6: which is more than likely where you're listening to this,
• 1:33:42
  Speaker 6: and if it isn't, please make one of those two
• 1:33:45
  Speaker 6: where you listen you show. Colin, thank you so much
• 1:33:47
  Speaker 6: for joining us. See you in a year, buddy, It'll
• 1:33:51
  Speaker 6: be sooner.
• 1:33:51
  Speaker 4: It'll be soon.
• 1:33:52
  Speaker 7: Back to the vault with you. No, I'm kidding.
• 1:33:56
  Speaker 6: And and Mike, thank you for another great entry into
• 1:33:59
  Speaker 6: Mike White May for the here so yeah, we'll catch
• 1:34:02
  Speaker 6: you on the next episode.