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The Iron List #78 | The Best Movie Title Sequences Ever! · Critically Acclaimed Network

0:03
[UNKNOWN]: Hello everybody, and welcome back to the A-O-N-E-E-E-E-E-E-E-E-E-E-E-E-E-E-E-E-E-E-E-E-E-E-E-E-E-E-E-E-E-E-E-E-E-E-E-E-E-E-E-E-E-E-E-E-E-E-E-E-E-E-E-E-E-E-E-E-E-E-E-E-E-E-E-E-E-E-E-E-E-E-E-E-E-E-E-E-E-E-E-E-E-E-E-E-E-E-E-E-E-E-E-E-E-E-E-E-E-E-E-E-E-E-E-E-E
0:29
[UNKNOWN]: Oh, yes, you sign lists tend to go a little long.
0:32
[UNKNOWN]: Yes, I'm curious if that's the way you like them now.
0:33
[UNKNOWN]: I'm curious if this one will because we're doing something a little different this time.
0:36
[UNKNOWN]: The way the iron list works, if anyone's new, is our patrons over at patreon.com slash critically claim network every month.
0:44
[UNKNOWN]: In this case, a month and a little bit of change for this episode of a few days late, but every month they get to pick a topic and with me and I, each present our own top 10 list.
0:57
[UNKNOWN]: in that topic.
0:58
[UNKNOWN]: We do not discuss the topic ahead of time.
1:01
[UNKNOWN]: We do not share our picks ahead of time.
1:03
[UNKNOWN]: I have no idea what he picked.
1:04
[UNKNOWN]: He has no idea what I picked.
1:06
[UNKNOWN]: We know he's rather well enough that maybe we can guess, but we do not know.
1:11
[UNKNOWN]: And that's what makes it fun.
1:13
[UNKNOWN]: But normally we do things like, yeah, the best film-lar movie, Zora's film makers, that comes best films that have a dog and whatever.
1:21
[UNKNOWN]: But this one is actually haven't done the best films that have a dog and I think, by the way, we haven't, no, it feels like we did.
1:28
[UNKNOWN]: Pretty sure we haven't done the dog.
1:29
[UNKNOWN]: I'm not sure that we have actually been, there have been a few times where we put a poll on our Patreon and someone pointed out, you did that one and I was like, oh,
1:38
[UNKNOWN]: We've been doing this spot gas for a long time, but in any case, normally we're talking about the whole movie.
1:45
[UNKNOWN]: We're talking about the quality of the entire motion picture.
1:50
[UNKNOWN]: We're saying that this is the best movie ever, however, this time, our patrons, very cool topic, decided instead to give us the best title sequences.
2:03
[UNKNOWN]: in movie history.
2:04
[UNKNOWN]: The best opening credits in movie history and opening credits are something that a lot of movies don't give a fuck about.
2:14
[UNKNOWN]: They do very, very simple little text over the action.
2:18
[UNKNOWN]: They don't put necessarily a lot of care into it.
2:20
[UNKNOWN]: It's just something that you kind of have to do in order to introduce the title and give everyone the credit that they're contractually obligated to get.
2:27
[UNKNOWN]: Some movies go above me up.
2:28
[UNKNOWN]: This is true.
2:30
[UNKNOWN]: James Bond movies are famous for their opening title sequences for a lot of people.
2:37
[UNKNOWN]: Yeah.
2:38
[UNKNOWN]: Yeah, over the years.
2:39
[UNKNOWN]: But Maurice Chivalier, that Maurice Mary's jar, I think.
2:44
[UNKNOWN]: Okay.
2:45
[UNKNOWN]: I don't have to look at it.
2:46
[UNKNOWN]: I don't know.
2:47
[UNKNOWN]: I don't know.
2:47
[UNKNOWN]: I started up the Traction of James Bond.
2:49
[UNKNOWN]: A lot of the more recent action blockbusters do have opening title sequences that they put at the end for some reason.
2:57
[UNKNOWN]: Where there's these kind of big, colorful montages of like shapes and objects and plot points from the movie You're with the title and all of the actors, but they always put it like right at the end of the action when that could get us amped up right at the beginning Yeah, sometimes it's like hey, let's just jump in yeah, and sometimes the title and go yeah or not
3:18
[UNKNOWN]: There's actually, and I don't think this quite qualifies you, my disagree, but there have been a few movies lately, like something like Drive My Car, where the movies are quite long and the stories are told and someone can mention a manner and the title sequence isn't until 30 or even 40 minutes into the movie, which is a choice that's really bold, that really, you know,
3:38
[UNKNOWN]: Grabsy, it's like oh shit like all of that was pretty weird.
3:41
[UNKNOWN]: Yeah.
3:41
[UNKNOWN]: Oh my god What an incredible like epic tale?
3:44
[UNKNOWN]: We're about to be told and I think that's really or maybe like the genre suddenly shifts And that's when the story properly begins.
3:49
[UNKNOWN]: I think that's very very cool But yeah, no the art of the title sequence and movie that really cares about it Obviously it's conveying information But it tends to be very playful.
4:02
[UNKNOWN]: We are acknowledging
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[UNKNOWN]: that the credits, which are what we call non-diagetic, diagetic refers to something that is real within the universe of the story.
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[UNKNOWN]: So let's say, for example, someone in your movie puts a record on a record player and turns it on and starts dancing to it that it's considered diagetic music.
4:24
[UNKNOWN]: The characters can hear it.
4:25
[UNKNOWN]: The characters can hear it.
4:27
[UNKNOWN]: Non-diagetic music would be something like the score for Star Wars, which Luke Skywalker cannot hear.
4:33
[UNKNOWN]: but it is telling that story.
4:36
[UNKNOWN]: Credits are typically non-diogenic.
4:38
[UNKNOWN]: However, the more you incorporate them into the storytelling, the more you are A, calling attention to this sort of falseness at the start of it, or B, using them as a way to sort of guide people into the reality of the story, which often, I find this often a bit heightened, if you call attention to it, but not necessarily.
4:59
[UNKNOWN]: And there's so many different takes on it.
5:01
[UNKNOWN]: There takes a lot of animation, takes a lot of visual effects, some that incorporates credits practically.
5:07
[UNKNOWN]: One, I wanted to include and then I realized that the thing I loved about it is actually at the end was West Side Story, which of course opens with this incredible dance sequence.
5:17
[UNKNOWN]: But the credits that I remember in love are actually at the end, and they're all like scrolling graffiti on the wall.
5:22
[UNKNOWN]: Yeah, they're all really part of the landscape.
5:25
[UNKNOWN]: I don't know that was really cool, but in my head, I remember being that being at the beginning, but it's actually at the end, so I couldn't include it.
5:31
[UNKNOWN]: Um, so I love a good credit sequence.
5:34
[UNKNOWN]: I love when a movie just announces, here we are.
5:37
[UNKNOWN]: Ha ha ha.
5:39
[UNKNOWN]: Well, it's that artifice, I think, that a lot of modern filmmakers are trying to avoid.
5:47
[UNKNOWN]: letting the audience acknowledge that what they're about to see is a fiction.
5:51
[UNKNOWN]: I think there's this, there's always been a movement in a certain kind of melodramatic storytelling to elide the melodrama a little bit, kind of smear over it, trying to go for realism.
6:04
[UNKNOWN]: Yeah, make it make it feel a little bit more realistic.
6:06
[UNKNOWN]: And that doesn't necessarily make a film more enjoyable, sometimes it's okay to acknowledge the artifice of it all.
6:11
[UNKNOWN]: But it's a choice.
6:12
[UNKNOWN]: It's a style, and there's nothing wrong with not calling attention to your credit sequence, but I'm pretty sure neither of us is probably going to pick a credit sequence as one of the best ever That kind of disappears or vanishes and of course at the beginning of cinema Credit sequences were basically just like what do you call them when you go into the theater the live theater and they give you the
6:33
[UNKNOWN]: The program program.
6:34
[UNKNOWN]: It's basically a thing of program playbell.
6:36
[UNKNOWN]: Yeah, it's here's the title here's the name of the people involved They deserve credit here's the name of the cast and You're looking a lot of older movies, you know, the the truly playful credit sequences We typically don't think of as like from the 30s Those tended to be basically and here's maybe a nicely painted title card.
6:55
[UNKNOWN]: Mm-hmm
6:55
[UNKNOWN]: two bits around the edges, everyone's name is clearly legible, and then we just sort of move on, and there's nothing wrong with that, but eventually, filmmakers start to get cute.
7:05
[UNKNOWN]: And those are the ones that I like.
7:07
[UNKNOWN]: I like it when a movie is bombastic about itself, and isn't afraid to have fun and play, and make you stoked just for the accuracy, the movie regardless of the story.
7:19
[UNKNOWN]: So we're going to talk about a lot of different title sequences,
7:26
[UNKNOWN]: And again, we didn't talk about the criteria for this ahead of time.
7:31
[UNKNOWN]: My criteria was with only the tiniest bit of wiggle room on either side.
7:38
[UNKNOWN]: I am only gonna be talking about the actual credit sequence.
7:43
[UNKNOWN]: I'm not talking about the opening scene, unless the credit's a part of it.
7:46
[UNKNOWN]: Okay.
7:47
[UNKNOWN]: And I'm not talking about what goes on after the credits.
7:52
[UNKNOWN]: I'm just talking about that exact sequence.
7:54
[UNKNOWN]: It can be separate from the film.
7:56
[UNKNOWN]: It can be part of the film.
7:58
[UNKNOWN]: But generally speaking, once you see like directed by blank,
8:04
[UNKNOWN]: My window of what is allowable for this list more or less ends there.
8:09
[UNKNOWN]: I might give you another few seconds, but like that's basically the end.
8:13
[UNKNOWN]: The sequence has to be a sequence unto itself.
8:16
[UNKNOWN]: It can't just be sort of an interesting way to roll the opening credits.
8:20
[UNKNOWN]: There are plenty of movies that have really great opening music or fantastic song selection that play over the opening credits.
8:27
[UNKNOWN]: And it's a montage of like maybe the setting
8:31
[UNKNOWN]: The character just sort of doing something and all of that can be very exhilarating.
8:34
[UNKNOWN]: Yeah.
8:34
[UNKNOWN]: Perfectly.
8:35
[UNKNOWN]: Perfectly good storytelling out.
8:36
[UNKNOWN]: Unless that like is not related to the movie at all, that doesn't count as like a title sequence.
8:42
[UNKNOWN]: A sequence is a sequence.
8:43
[UNKNOWN]: Yeah.
8:43
[UNKNOWN]: It needs to, needs to, needs to end.
8:45
[UNKNOWN]: It's the lift out of the movie and be watched.
8:47
[UNKNOWN]: on a tell.
8:47
[UNKNOWN]: There was another movie that I was thinking about putting on here, and then I realized I remembered it wrong as well, because I remember that the opening music, the opening song for that thing you do.
8:58
[UNKNOWN]: It's not that thing you do, which is the one hit wonder, by the wonders that is composed of the 1960s and that drives a story story of a one hit wonder band.
9:08
[UNKNOWN]: But the opening credits is this wonderful original song called Loving You Lots and Lots,
9:14
[UNKNOWN]: You've got me all tied up and nuts and I'm loving you lots and lots and I've had that song stuck in my head for like nearly 30 years I love that song and I remembered it at the beginning remember that it was really really fun And then I watched the opening sequence again, and it's just
9:29
[UNKNOWN]: here's the town and then we're inside one of the kids dad's like department stores like Iran's and it's like and it's fine it tells the story it sets you up i'm not giving that a special prize yeah great song though same with the one i thought of was um john water's pecker which is just a montage of scenes around Baltimore it's about the photographers just taking pictures of fun stuff around Baltimore but they play this really upbeat bouncy song called Happy Go Lucky Me
9:56
[UNKNOWN]: Yeah, I can laugh when things ain't funny, happy go lucky me.
10:01
[UNKNOWN]: I love that song.
10:01
[UNKNOWN]: Yeah, it's like novelty song.
10:03
[UNKNOWN]: Like he John Waters can really reach deep when it comes to song selections and That just song tracks.
10:11
[UNKNOWN]: And I remember all that best not a sequence now
10:14
[UNKNOWN]: One that my rule, that once the credits directors card is done, you have a few more seconds and then we're done with the sequence and I'm not counting it anymore.
10:24
[UNKNOWN]: There's a couple of movies that I think have amazing openings.
10:29
[UNKNOWN]: Didn't quite fit because they kept going.
10:32
[UNKNOWN]: One was a ghost ship.
10:36
[UNKNOWN]: Well, Gochev just has a great cold open.
10:38
[UNKNOWN]: It does.
10:39
[UNKNOWN]: That's the part you remember about Ghostchip.
10:40
[UNKNOWN]: But the credits are still going though, so I was gonna let it slide just because the cold open is so amazing.
10:44
[UNKNOWN]: If you don't remember the movie Ghostchip, starring Juliana Marglies from ER and the Goodwife, it was- By the way, you don't remember Ghostchip.
10:53
[UNKNOWN]: You might remember the opening of Ghost Ship.
10:56
[UNKNOWN]: If you remember Ghost Ship, you remember the cold open.
10:58
[UNKNOWN]: Ghost Ship was basically a late 90s, early 2000s, a big old Ghost movie, and it's about a haunted cruise ship that's been missing for decades, and now it's all free.
11:08
[UNKNOWN]: It's hard to spread and salvage it, but there's ghosts on the ship.
11:11
[UNKNOWN]: Yeah, yeah, it's fine.
11:14
[UNKNOWN]: The opening is what have the scariest fucking things I've ever seen.
11:18
[UNKNOWN]: It's so fucking morbid.
11:20
[UNKNOWN]: They explain how the ship became a ghost ship.
11:22
[UNKNOWN]: Yeah, but it's just like a flashback to the 60s.
11:24
[UNKNOWN]: Yeah, and it's a truly brilliant sequence.
11:28
[UNKNOWN]: It is amazingly realized.
11:30
[UNKNOWN]: couple of this visual effects shots of age a little bit, but whatever, the genuine gruesome horror of it is incredible.
11:37
[UNKNOWN]: And if that sequence had ended with the director's credit, I would have included it.
11:43
[UNKNOWN]: But they give the director's credit and then it goes on for like another minute.
11:46
[UNKNOWN]: And I'm like, damn you, you were so close.
11:49
[UNKNOWN]: And the other one that I truly love.
11:52
[UNKNOWN]: It's an incredible virtuosic opening, and I was surprised that Brian Dupalma, like, didn't let the opening credits go through the entire time, was a sneak-ice.
12:05
[UNKNOWN]: Oh, yeah.
12:06
[UNKNOWN]: Yeah.
12:06
[UNKNOWN]: Yeah.
12:06
[UNKNOWN]: Stake ice is a lake.
12:08
[UNKNOWN]: It's a wonder.
12:08
[UNKNOWN]: It's a bit faked, but it's still an incredible piece of filmmaking.
12:12
[UNKNOWN]: Snake ice stars Nicholas Cage is a corrupt cop and there is a there's an boxing match.
12:18
[UNKNOWN]: There's a boxing match and there's an assassination that takes place at the boxing match and he's the cop on hand and he's trying to like uncover a whole bunch of corruption and conspiracy.
12:30
[UNKNOWN]: 30 daily.
12:30
[UNKNOWN]: Yeah, great idea.
12:32
[UNKNOWN]: Just an okay movie, but like Brian DePaul, my keeps that opening shot going for like 10, 15 minutes through a variety of different spaces and performances and tones and it's like a split screen bit.
12:47
[UNKNOWN]: Yeah.
12:47
[UNKNOWN]: It's genuinely incredible filmmaking in a just okay movie, but again, we see directed by Brian DePaul, but maybe three minutes into it and
12:59
[UNKNOWN]: Yeah, so yeah, so we're about to give our lists of the best credit sequences regardless of whether the movie is great, although I find it often goes hand-in-hand, usually that level of care Usually, I think transfers over to the whole film, but the one thing I will remind everyone of is when we do these iron lists, we do not rank them the way a lot of other top ten lists articles and shows do
13:24
[UNKNOWN]: Our number nine pick is not more recommended than our number 10.
13:27
[UNKNOWN]: We want you to see all of these movies.
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[UNKNOWN]: They're all tied except for our number one pick, which is if you put a gun to our head, the best title sequence we've ever seen in a movie.
13:40
[UNKNOWN]: That's when he's pick, it's my pick.
13:41
[UNKNOWN]: I don't know what he picked.
13:42
[UNKNOWN]: He doesn't know what I picked.
13:44
[UNKNOWN]: I suspect you might be surprised.
13:48
[UNKNOWN]: and a few new surprises along the way.
13:51
[UNKNOWN]: Tradition on the iron list always states that with me kicks us off.
13:57
[UNKNOWN]: Let me kick with me.
13:59
[UNKNOWN]: I'm going to start with a film that I haven't seen.
14:02
[UNKNOWN]: Wow, bold.
14:03
[UNKNOWN]: So I haven't seen the whole movie, but I've watched that opening title sequence numerous times.
14:09
[UNKNOWN]: That was great.
14:10
[UNKNOWN]: I'm listening.
14:10
[UNKNOWN]: Because I know it's thematically links, even though nothing what happens in the opening title sequence.
14:15
[UNKNOWN]: None of the characters we see in the opening title sequence have any bearing on the rest of the film.
14:20
[UNKNOWN]: Okay.
14:21
[UNKNOWN]: This is Andrew Nichols' film, Lord of War.
14:23
[UNKNOWN]: Oh, okay.
14:24
[UNKNOWN]: Yeah, great.
14:25
[UNKNOWN]: Okay.
14:26
[UNKNOWN]: I have seen the movie.
14:26
[UNKNOWN]: I have seen the movie.
14:28
[UNKNOWN]: The movie.
14:29
[UNKNOWN]: I know just from looking it up is a necklace cage place in arms dealer Arms dealer in a suit like he's not some sort of like scuzzy criminal.
14:38
[UNKNOWN]: He's like, well, he is, but he's not like he's it's a business Right, selling illegal weapons to people who do horrible international crimes is a business and it's trying to just sort of say that there is a like this
14:52
[UNKNOWN]: dry bureaucratic angle to getting the weapons of violence to violent areas where people are just going to murder each other.
14:59
[UNKNOWN]: And the opening sequence to Lord of War follows from the factory where bullets are manufactured.
15:08
[UNKNOWN]: And the camera stays on one specific bullet and it's on that kind of MTV where they fall over the whole camera topples over and there's a lot of
15:20
[UNKNOWN]: and we follow it through a production line and we're filling up people look it up and examine it and put it back it goes into a box there's a black sequence where it's just sort of being shipped somewhere then it gets poured out into like the middle of this warzone somewhere we don't know who any of these people are aware it is just there's some kind of violent street battle going on and there's people with like you know m16's just shooting each other and the final sequence is we see the bullet going into the clip and then we see it in the
15:50
[UNKNOWN]: the barrel of the gun and then it enters a young man and that's and then it says you have directed by Andrew Nichol and then the movie starts proper and we cut to Nichol's gauge.
16:00
[UNKNOWN]: I mean that's just a great short film.
16:01
[UNKNOWN]: It's yeah yeah that's that's why I like it.
16:04
[UNKNOWN]: Yeah it just sort of shows that there is this kind of not just a mechanical aspect to world violence but also many steps of the way where it can be
16:19
[UNKNOWN]: Like, it takes a lot of time and concentration and entire backing industry to make sure that a bullet enters in an innocent person's body.
16:27
[UNKNOWN]: Right.
16:28
[UNKNOWN]: Like, there's so much more power in that than I'm sure there is in the rest of the movie.
16:31
[UNKNOWN]: Maybe the movie's great.
16:32
[UNKNOWN]: I haven't seen it.
16:34
[UNKNOWN]: I have, like, that sequence is fantastic.
16:36
[UNKNOWN]: I know it didn't get very good reviews.
16:38
[UNKNOWN]: it didn't it didn't like it did okay when it first came out and then I think and I think the title sequence really helps.
16:44
[UNKNOWN]: It's such a striking opening.
16:47
[UNKNOWN]: Over time that movie has gotten a very good reputation I think.
16:49
[UNKNOWN]: I think people usually say that that was a bit underappreciated when it first came out.
16:54
[UNKNOWN]: There's been talk actually recently of doing a sequel.
16:56
[UNKNOWN]: Uh, which for them, honestly, and this is Andrew Nickel, by the way, the guy who rose to prominence writing and then directing such very, uh, high concept movies.
17:06
[UNKNOWN]: Yeah.
17:06
[UNKNOWN]: Very high concept sci-fi movies like Gatica and the Truman Show and Simone, which ended up being incredibly pressy and because it's about filmmakers adopting AI.
17:15
[UNKNOWN]: Yeah.
17:16
[UNKNOWN]: And Simone.
17:17
[UNKNOWN]: is a good movie by the way.
17:18
[UNKNOWN]: It's a good movie.
17:19
[UNKNOWN]: I feel a lot of people thought it was a little cheeky at the time, but yeah, it's actually and it's really funny.
17:24
[UNKNOWN]: Yeah, Al Pacino gives like a comedic performance with a player for him.
17:28
[UNKNOWN]: I think my thing with Simone is that I think it's very ahead of its time in its ideas and its conception of what the tech would become and how.
17:36
[UNKNOWN]: The industry would respond to it, and I think all of that was very prescient.
17:41
[UNKNOWN]: I don't think Andrew Nichol is a particularly funny filmmaker.
17:44
[UNKNOWN]: And I think the scenes where that movie kind of falls apart a bit or like when Al Pacino is like has like a mannequin driving a car and he's like in the backseat trying to pretend like a weekend at Bernie's kind of way that the AI actress he's invented is a real person.
18:02
[UNKNOWN]: All that stuff, Andrew Nichol doesn't really know how to make that funny, it kind of falls flat, but all of the rest of it is fantastic.
18:08
[UNKNOWN]: Lord of War, it's been a while since I've seen it.
18:10
[UNKNOWN]: I remember thinking this is incredibly respectable.
18:12
[UNKNOWN]: It's got really good ideas.
18:14
[UNKNOWN]: And I just never really emotionally connected to it.
18:18
[UNKNOWN]: I think it is a more of a movie about the idea, which is why I think the opening credits are so strong.
18:26
[UNKNOWN]: Because that's it, that's the movie, that's the idea,
18:32
[UNKNOWN]: is that you don't just get shot.
18:37
[UNKNOWN]: There is an industry that you go, you work backwards.
18:42
[UNKNOWN]: Someone sold that bullet.
18:43
[UNKNOWN]: Someone disshiped that bullet.
18:45
[UNKNOWN]: Someone made that bullet.
18:47
[UNKNOWN]: Someone designed that bullet.
18:51
[UNKNOWN]: Someone ran that bullet by a board of directors or something and said, hey, listen, I got a great idea for a new bullet.
19:00
[UNKNOWN]: And everyone's like, great.
19:01
[UNKNOWN]: That'll kill people great.
19:04
[UNKNOWN]: Like, and there's something just so mind-boggling about this huge giant industry that I imagine a lot of people don't think of themselves as directly involved in the violence at hand, how everyone involved in the weapons trade, thinks of that, it's hard to imagine.
19:25
[UNKNOWN]: But I don't know, maybe.
19:30
[UNKNOWN]: It does everyone who works for like an American health insurance company, the kind that decide whether or not you should be allowed to get treatment for your cancer, do they all think their monsters?
19:43
[UNKNOWN]: Probably not.
19:44
[UNKNOWN]: I don't know how you can go on with your day, I don't know how you could do it.
19:47
[UNKNOWN]: There's some way you don't care or you've convinced yourself otherwise.
19:50
[UNKNOWN]: And that is a fascinating thing.
19:51
[UNKNOWN]: And that is the fascinating thing about Nicolas Cage's character is that he's part of that.
19:55
[UNKNOWN]: He's convinced himself.
19:56
[UNKNOWN]: It's okay.
19:57
[UNKNOWN]: He has intellectualized it.
20:00
[UNKNOWN]: But yeah, I agree.
20:00
[UNKNOWN]: I think the whole movie is in the credits.
20:02
[UNKNOWN]: And it's great and it's really good and made my runners up.
20:05
[UNKNOWN]: Okay, it's really really good It's just a really fantastic three-minute shot and um, so I'm gonna stand by it Even though I haven't seen the rest of the movie.
20:12
[UNKNOWN]: I don't know hot relates to the rest of the movie But by itself, it's too it's just terrific all right well my first pick and I usually try to do a big swing right at the beginning This is one where like I don't know if anyone else would pick this But I stand by it and it's for a movie which I freely admit
20:29
[UNKNOWN]: Not very good.
20:30
[UNKNOWN]: Not a good move.
20:31
[UNKNOWN]: Maybe arguably even bad.
20:32
[UNKNOWN]: I think it's very entertaining But it's arguably a bad film and from a filmmaker who's work.
20:38
[UNKNOWN]: I mostly don't like All right, he's he's made a few good movies, but I'm not a huge fan I don't think he's a particularly brilliant or insightful filmmaker, but he's a very stylish filmmaker and one time Paul W. S. Anderson
20:53
[UNKNOWN]: Not to add to the fucking park with this opening credit sequence and it's for resident evil retribution It's the fifth one.
21:02
[UNKNOWN]: Yeah, it's a fifth one.
21:03
[UNKNOWN]: I'm gonna walk you through it.
21:03
[UNKNOWN]: So every resident evil movie This one with the clones
21:07
[UNKNOWN]: No, that is Resident Evil 4, which is also a hoot, that's a great opening, I don't remember if it's the whole credit sequence, it's just the whole open.
21:17
[UNKNOWN]: Every Resident... Yeah.
21:19
[UNKNOWN]: Yeah.
21:21
[UNKNOWN]: All of the Paul W.S.
21:22
[UNKNOWN]: Anderson directed or Paul W.S.
21:23
[UNKNOWN]: Anderson produced Resident Evil movies usually begin with the resolution of the cliffhanger from the previous film.
21:32
[UNKNOWN]: Uh, the third movie always in a disappointing way.
21:36
[UNKNOWN]: Oh, they almost all we say, hey, you know, how excited you were about the possibilities.
21:39
[UNKNOWN]: Fuck that.
21:40
[UNKNOWN]: So, like Resident Evil 3 ended with Amelia Yovevich, finding out she had an army of psychic clones of her at her disposal.
21:53
[UNKNOWN]: And then the fourth movie begins with her leading an army of psychic clones to like,
22:01
[UNKNOWN]: Go to war against an evil mega corporation and it's totally fucking awesome and within five minutes all but one of them are dead well great
22:11
[UNKNOWN]: We're back to square one, like, and then five ends with and I'll move on to the four and five minutes, because that's what we're going to be talking about, but five ends with like Millioovitch and bunch of characters in the previous movies are in the White House, the main bad guy from all the other movies has somehow become president and the White House is being besieged by zombies and flying dragons.
22:38
[UNKNOWN]: and it sets up that this is gonna be like the world's most awesome fucking siege picture you've ever fucking seen and I was like fuck yeah man what have we got next and then like the next movie like opens like right after they lost that battle I'm like what are we even doing?
22:54
[UNKNOWN]: why do you keep setting us up for cool shit and doing boring shit but Resident Evil 4 had an interesting attack where it ended with them winning
23:04
[UNKNOWN]: They won!
23:05
[UNKNOWN]: Everything's going great!
23:06
[UNKNOWN]: We killed the bad guy, we're on this giant, like, oil tanker, yeah, it's like this oil filter, whatever, that's like it's very big and carry all the survivors and there's problems to be solved, but there aren't any zombies, we're doing great, and then like a bunch of helicopter show up, and it's like, oh, those are the bad guys, the world's in continuous.
23:24
[UNKNOWN]: And they cut to the woman who is like a gem in her chest and she's said and she's like a vampire And she's a vampire.
23:31
[UNKNOWN]: She's she's she's she's got she's got like a robot Scarab with a giant ruby in her cleavage that is making her evil
23:42
[UNKNOWN]: And she was a hero in the second one and also she's blonde now sense.
23:45
[UNKNOWN]: Yeah, I don't know.
23:46
[UNKNOWN]: They don't know.
23:47
[UNKNOWN]: They don't if you accept that a lot of them are fun Two is still pretty unwatchable.
23:52
[UNKNOWN]: It's silly or not, but most of them are fun So five opens a couple of seconds later like maybe 30 seconds later
24:05
[UNKNOWN]: But we open in the ocean, and we're on a giant oil tanker or something, or a cargo ship.
24:12
[UNKNOWN]: We're in the ocean, and the oliove of it is under the water.
24:15
[UNKNOWN]: And then she starts floating to the top, and then she starts flying out of the water backwards, and you realize you're watching this entire thing in backwards and super slow motion.
24:24
[UNKNOWN]: She flies backwards out of the water.
24:28
[UNKNOWN]: rolls back up to a standing position where she's holding two shotguns, bullets start flowing back into her shotguns, and then we cut to an exploding helicopter that starts unexploding, and a guy's head who's been shot off, ungets shot off, and the glass heels,
24:47
[UNKNOWN]: As meanwhile, we cut to the evil Ruby Scarab Boob Lady, and she's floating like this incredibly beautiful perfume commercial shot, and you realize that she's floating backwards up into the sky, and it's like, oh shit, this is all that's just glorious, and it's beautiful, and it's got this
25:16
[UNKNOWN]: Every image is exciting.
25:18
[UNKNOWN]: The music is really selling it.
25:20
[UNKNOWN]: It's a score by Tom and Andy.
25:22
[UNKNOWN]: We do a lot of fun work.
25:24
[UNKNOWN]: Oops.
25:25
[UNKNOWN]: Got that?
25:26
[UNKNOWN]: You good?
25:27
[UNKNOWN]: I just talked to Penn.
25:29
[UNKNOWN]: And then there's a little catch-up sequence, like here's where we were.
25:37
[UNKNOWN]: And then we see that entire sequence again in forward motion, in real time, and we realize that entire bit,
25:44
[UNKNOWN]: talk about 30 seconds.
25:46
[UNKNOWN]: Yeah, it was this really fast thing, but there is something about it that really works.
25:50
[UNKNOWN]: One because it's incredibly pretty and very eye catching.
25:53
[UNKNOWN]: But also, I think, and I don't know, I don't know if I'm willing to give Paul W. S. Anderson enough credit for thinking this out.
26:01
[UNKNOWN]: I think it expresses the futility of not just like the zombie apocalypse, but his own franchise.
26:09
[UNKNOWN]: where like I'm gonna do all of this cool shit and none of it's gonna matter.
26:14
[UNKNOWN]: All of this cool shit is like just a fraction of a second and we're gonna make a big deal out of it and at the end it's over in a second and nothing fucking mattered.
26:22
[UNKNOWN]: We will not be coming back to this and we've just moved on.
26:25
[UNKNOWN]: But while we were watching it, it was
26:28
[UNKNOWN]: everything.
26:31
[UNKNOWN]: And I really admire it.
26:32
[UNKNOWN]: I think intentional or not.
26:34
[UNKNOWN]: It's a very smart sequence that is very eye catching.
26:38
[UNKNOWN]: And then the movie after that, I don't fucking know honestly because
26:57
[UNKNOWN]: Wait, I've seen all these movies that they just start to blend together.
27:01
[UNKNOWN]: Yeah, no, it kind of doesn't matter what happens after this.
27:04
[UNKNOWN]: It was apocalypse.
27:06
[UNKNOWN]: Yeah.
27:06
[UNKNOWN]: Followed by.
27:08
[UNKNOWN]: Extinction.
27:10
[UNKNOWN]: There was extinction.
27:11
[UNKNOWN]: Followed by.
27:14
[UNKNOWN]: Resurrection.
27:15
[UNKNOWN]: No.
27:15
[UNKNOWN]: No.
27:17
[UNKNOWN]: After life.
27:18
[UNKNOWN]: After life was.
27:18
[UNKNOWN]: After life was after extinction.
27:20
[UNKNOWN]: All right.
27:21
[UNKNOWN]: Yeah.
27:23
[UNKNOWN]: Which, you know, followed by the number five and then followed by the final chapter.
27:27
[UNKNOWN]: Yeah, all right.
27:29
[UNKNOWN]: So like Richard, you should, oh, that way to be a blah, blah, blah, blah, blah, blah, blah.
27:34
[UNKNOWN]: Um, yes.
27:34
[UNKNOWN]: So the rest of them, I want to make sure I got this correct, because they're so divorced from the actual plot of the movie, the opening almost doesn't matter, which is, again, I think part of the point.
27:43
[UNKNOWN]: But, um,
27:45
[UNKNOWN]: Millio with which wakes up inside like an underground testing facility where are they've recreated or home time?
27:51
[UNKNOWN]: They've recreated like very like a hometown and Tokyo and she has the team up with like a clone of herself and a clone of Michelle Rodriguez who died in the first movie And they have to fight their way through all of the cool locales from previous movies and it makes no sense whatsoever And she dies and it's revealed she's a clone
28:15
[UNKNOWN]: Yeah, I don't fucking know.
28:17
[UNKNOWN]: Yeah, you don't fucking know.
28:19
[UNKNOWN]: Nobody fucking knows.
28:21
[UNKNOWN]: It doesn't fucking matter.
28:22
[UNKNOWN]: It's cool And I think that opening is cool, but it's kind of a bow Sort of the futility of that coolness and again probably an accident, but I think it's a great opening And it's one of my favorite opening credit sequences and modern memory
28:37
[UNKNOWN]: Okay.
28:40
[UNKNOWN]: Yeah, um, I don't think I have anything that's like quite that action packed.
28:44
[UNKNOWN]: Yeah, so I guess no being no James Bond sequences for you actually, you know what I do.
28:48
[UNKNOWN]: I have gold finger.
28:49
[UNKNOWN]: Okay.
28:49
[UNKNOWN]: There you go.
28:50
[UNKNOWN]: That's if I'm going to choose one James Bond title sequence because they all kind of borrow from I think gold.
28:57
[UNKNOWN]: I think gold finger.
28:57
[UNKNOWN]: It's the third James Bond movie.
28:59
[UNKNOWN]: It's the first James Bond movie.
29:00
[UNKNOWN]: It's the one where all the pieces came together and it's like it's from much of what love is great and really influential But and Dr. Noah is fine, but it's racism on a side.
29:09
[UNKNOWN]: Well, I think it's also just very slow compared to the other James Bond movies There's a lot of nothing happening in Dr. Noah, but gold finger it's like and then movie is problems too Oh, you break James Bond Assaults a variety of women and especially in his early adventures and gold fingers definitely won a moment It's absolutely infuriating and we're supposed to like this guy fuck that guy, but like
29:30
[UNKNOWN]: It's got a large of my villain, it's got a razor, bolder hat, it's got fighting to the death, and for it knocks, well, a nuclear bomb is about to go off.
29:37
[UNKNOWN]: It's got all the cool shit, all the cartoony things that we would come to associate with the James Bond film series.
29:43
[UNKNOWN]: Goldfinger is the James Bond, what fast-five is to the fast in the theory.
29:46
[UNKNOWN]: Yeah, it's kind of It came later in this series, but it's kind of the first one.
29:52
[UNKNOWN]: Iron Man 2 was really the first MCU movie.
29:55
[UNKNOWN]: The first two that came before it were kind of like retroactively incorporated, because they were made independently of the MCU plan.
30:02
[UNKNOWN]: Um, I do that squibbling, but whatever, your point is taken.
30:05
[UNKNOWN]: Yeah.
30:06
[UNKNOWN]: Um, like, not going to fall down that.
30:08
[UNKNOWN]: But, uh, but, uh, but, uh, it's, it's surely basseasing in that really fantastic brassy song.
30:14
[UNKNOWN]: Oh, thank you.
30:15
[UNKNOWN]: So good.
30:15
[UNKNOWN]: Uh, and, uh,
30:18
[UNKNOWN]: Yeah, so that the song, you know, is a big part of that just sort of a big gigantic opening chord.
30:22
[UNKNOWN]: Poem, poem, poem, that one that brings you in.
30:27
[UNKNOWN]: But then it's just that wonderful montage of some danger imagery.
30:31
[UNKNOWN]: There's like guns floating through the background projected on the gold painted bodies of beautiful women, like models, against a black background.
30:41
[UNKNOWN]: So it's if that's not the male gaze.
30:43
[UNKNOWN]: I don't know what the fuck is.
30:44
[UNKNOWN]: It's it's the male gaze Women into literal valuable property and they're guns on them just in case that wasn't that wasn't macho enough It sells machismo in such an over-the-top way.
30:58
[UNKNOWN]: I kind of dig it like it's it becomes camp Yeah, it's like a medium.
31:03
[UNKNOWN]: It's blisteringly sexist that I'm kind of laughing at it at the same moment That I'm kind of being drawn into sort of this
31:08
[UNKNOWN]: fantasy this may all fantasy world of being James Bond.
31:13
[UNKNOWN]: The appeal of James Bond isn't James Bond.
31:17
[UNKNOWN]: James Bond isn't really a character.
31:19
[UNKNOWN]: He's immortal.
31:21
[UNKNOWN]: He's a suit.
31:22
[UNKNOWN]: He's a collection of character traits.
31:24
[UNKNOWN]: I don't care about where he came from.
31:25
[UNKNOWN]: That's why I got really upset and a lot of people got upset when some of the more recent James Bond movies are talking about.
31:31
[UNKNOWN]: He's childhood and how he came into MI6.
31:34
[UNKNOWN]: Don't care.
31:35
[UNKNOWN]: Don't give a fuck about how James Bond got to be James Bond.
31:39
[UNKNOWN]: The appeal of James Bond is he's already in the Tuxedo.
31:42
[UNKNOWN]: He's already assured and confident and skilled.
31:45
[UNKNOWN]: He gets to do the fun things.
31:49
[UNKNOWN]: Yeah.
31:49
[UNKNOWN]: He gets to fill out this very
31:52
[UNKNOWN]: base male fantasy about traveling the world in expensive cars being unbothered looking fabulous looking fabulous drinking all you want betting all of the women you want in some of those early James Bond movies his dick is a magic wand It turns evil women good by sleeping with he turns he turns In gold finger He turns pussy galore
32:18
[UNKNOWN]: that's the character's name.
32:20
[UNKNOWN]: She's gay.
32:22
[UNKNOWN]: He turns her straight with, and it's basically a salt.
32:27
[UNKNOWN]: Yeah.
32:28
[UNKNOWN]: It's a fucked up thing.
32:31
[UNKNOWN]: It is deeply wrong.
32:33
[UNKNOWN]: But it does represent this very brutal, masculine fantasy, which one of the reasons why I mostly don't connect with James Bond?
32:40
[UNKNOWN]: Yeah.
32:40
[UNKNOWN]: There's a few James Bond movies I really like.
32:43
[UNKNOWN]: Most of the things I want, so.
32:44
[UNKNOWN]: Most of them are not the ones other people like and that's probably why.
32:48
[UNKNOWN]: Because I generally disconnect.
32:50
[UNKNOWN]: Like you tell me like, oh, Sean Connery is this Dappa Man who punches every woman in the face and I'm like, I don't like him.
33:00
[UNKNOWN]: He's a sack of shit.
33:02
[UNKNOWN]: You show me the funny Cassina Royale from the 60s, where it's all about how that attitude is not only wrong, but it would get you killed and make you a shitty spy.
33:14
[UNKNOWN]: You show me the remake of Cassina Royale, which I like a lot, which is not really James Bond's origin.
33:19
[UNKNOWN]: It's just his first mission when he's just a little, a little love human.
33:24
[UNKNOWN]: Yeah, little, little less defined.
33:25
[UNKNOWN]: It hasn't quite shut himself off with me.
33:30
[UNKNOWN]: But I need to get you like a little necklace to put that on.
33:32
[UNKNOWN]: They have it clipped on.
33:33
[UNKNOWN]: It's just not a very good clip.
33:34
[UNKNOWN]: OK.
33:36
[UNKNOWN]: This pen came from the four seasons.
33:38
[UNKNOWN]: Ah, nice.
33:39
[UNKNOWN]: They gave it to me at a press junkyard.
33:41
[UNKNOWN]: Yeah.
33:42
[UNKNOWN]: And, yeah.
33:43
[UNKNOWN]: not hold on for a while.
33:45
[UNKNOWN]: But like again, I like a little bit of personality in my James Bond.
33:48
[UNKNOWN]: I like a little bit of character to my James Bond, the macho power fantasy version of James Bond doesn't speak to me, which is actually one of the reasons why there are no James Bond sequences in my picks because while they're iconic and some of them are, you know, in their own way very great.
34:05
[UNKNOWN]: But the only one that I would actually seriously consider, and I don't think it's particularly good, but it's the one James Bond movie that I think does something very, very different.
34:13
[UNKNOWN]: And it's done another day, because in that sequence, it's, oh, the movie is like, big exciting open action sequence.
34:20
[UNKNOWN]: Bond is abducted by the bad guys and spends like tortured for a year it's like tortured for a year So the entire sequence, which is normally James Bond looking cool, holding up a gun sexy women going and I would like to sex him and all that shit It's it's actually just going on while people are beating the shit at a James Bond and I'm like, okay Not Madonna's best song Ironically Madonna did a much better James Bond song for Austin Powers
34:49
[UNKNOWN]: then she did for James Bond.
34:50
[UNKNOWN]: Oh, that's a beautiful stranger.
34:51
[UNKNOWN]: Yeah, that's a great song.
34:52
[UNKNOWN]: Yeah.
34:53
[UNKNOWN]: She killed it for Austin Powers.
34:54
[UNKNOWN]: She was not giving her all for Dianne other day.
34:57
[UNKNOWN]: I will say this.
34:58
[UNKNOWN]: One thing I do find very amusing about gold finger.
35:01
[UNKNOWN]: And there's a couple other James Bond movies that do this, but none so memorably is that the opening song is about the bad guy.
35:09
[UNKNOWN]: Yeah, and it's all about like how fucking awesome gold finger is, and then you meet him and he's this shitty gulfing millionaire Like he's just not exciting like he's really bassy is doing all the heavy lifting to sell gold fingers a real threat There are some really fantastic James Bond songs that don't make any fucking sounds Yeah, I don't know what a view to a kill man's oh right fucking song.
35:33
[UNKNOWN]: That was great song.
35:35
[UNKNOWN]: Was that during the end?
35:37
[UNKNOWN]: That's the one where they do that sort of their, you know, the sexy women are floating by.
35:45
[UNKNOWN]: And we see a woman's like just from the neck down to her navel, it's just her chest.
35:50
[UNKNOWN]: And she unzips the wet suit she's wearing and the double seven is painted on her cleavage.
35:55
[UNKNOWN]: Yeah.
35:56
[UNKNOWN]: Like, okay, yeah, subtle guys.
35:59
[UNKNOWN]: You know what really grew on me over time?
36:01
[UNKNOWN]: Like I don't think the movie is very good, but I've come to really like the song Is the world is not enough for some by garbage.
36:08
[UNKNOWN]: That's a good one.
36:09
[UNKNOWN]: That's a really good one And what I took me a while to realize because I did a podcast a while ago where we talked about all the James Bond songs of another podcast, but I'd never really listen very hard to the lyrics.
36:20
[UNKNOWN]: It's song like the two villains in the world is not enough are in love
36:25
[UNKNOWN]: It's longer singing to each other.
36:27
[UNKNOWN]: Oh, it's fun.
36:28
[UNKNOWN]: The world is not enough, but it's such a place to start my love.
36:32
[UNKNOWN]: We're going to conquer the world, and that's where we're going to begin.
36:34
[UNKNOWN]: And there's something really just kind of really romantic about it, but also very sinister.
36:40
[UNKNOWN]: It really works.
36:42
[UNKNOWN]: But my favorite James Bond sequences, I'm sighting golden eye just because it's the singer or gold finger excuse me because it's a template for all the others.
36:51
[UNKNOWN]: I like golden eye.
36:52
[UNKNOWN]: Gold of my rule.
36:53
[UNKNOWN]: Gold of my rule.
36:53
[UNKNOWN]: Gold of my favorite James Bond movie by a mile.
36:55
[UNKNOWN]: It's definitely a contender yet.
36:57
[UNKNOWN]: And I think it works for me because it's the first movie that acknowledged quite openly in dialogue that James Bond is this like old fashioned
37:05
[UNKNOWN]: useless dinosaur leftover from the Cold War and that whole movie is about how they're just sort of like cleaning up the last remnants of the Cold War Yeah, we could have stopped there We could have stopped after Timothy Dalton quite frankly.
37:16
[UNKNOWN]: Once the Berlin Wall fell we didn't need James Bond anymore I will say this.
37:20
[UNKNOWN]: I appreciate that tomorrow never dies.
37:21
[UNKNOWN]: It's like okay.
37:22
[UNKNOWN]: What have we got left after the Cold War?
37:25
[UNKNOWN]: Tech billionaires.
37:26
[UNKNOWN]: Yeah, it's a deck billionaires.
37:28
[UNKNOWN]: That's what we got.
37:29
[UNKNOWN]: You see one's a bunch of I run the media.
37:31
[UNKNOWN]: That's it.
37:32
[UNKNOWN]: I have an iPad.
37:33
[UNKNOWN]: That's a super power.
37:34
[UNKNOWN]: Yeah, fully by Jonathan Price.
37:36
[UNKNOWN]: Yeah, I like that one.
37:39
[UNKNOWN]: Some of the songs aren't great, but I like just sort of the visuals like for which one was just another way.
37:45
[UNKNOWN]: Another way to die.
37:46
[UNKNOWN]: uh... uh... uh... uh... uh... uh... uh... uh... uh... uh... uh... uh... uh... uh... uh... uh... uh... uh... uh... uh... uh... uh... uh... uh... uh... uh... uh... uh... uh... uh... uh... uh... uh... uh... uh... uh... uh... uh... uh... uh... uh... uh... uh... uh... uh... uh... uh... uh... uh... uh... uh... uh... uh... uh... uh... uh... uh... uh... uh... uh... uh... uh... uh... uh... uh... uh... uh... uh... uh... uh... uh... uh... uh... uh... uh... uh... uh... uh... uh... uh... uh... uh... uh... uh... uh... uh... uh... uh... uh... uh... uh... uh... uh... uh... uh... uh... uh... uh... uh... uh... uh... uh... uh... uh... uh... uh... uh... uh... uh... uh... uh... uh
38:16
[UNKNOWN]: was casino right now.
38:17
[UNKNOWN]: Oh gosh, because that was the Chris Cornell one.
38:20
[UNKNOWN]: Yes, and that that's also a great one.
38:22
[UNKNOWN]: That one's cool.
38:23
[UNKNOWN]: No, quantum of solace was like they're like walking like through the sand.
38:27
[UNKNOWN]: And they're like, we're not really big, you know?
38:30
[UNKNOWN]: It's azo.
38:30
[UNKNOWN]: Never mind.
38:31
[UNKNOWN]: Some of the best quantum of solace songs were that the Adam and Joe
38:35
[UNKNOWN]: competition.
38:36
[UNKNOWN]: Yeah.
38:37
[UNKNOWN]: At Adam and Joe are British comedians who write something like comedic songs and they each before the movie came out came up with fake quantum solid songs.
38:45
[UNKNOWN]: Looked those up because they're both hilarious.
38:47
[UNKNOWN]: I was going to say one last thing and then we should move on.
38:49
[UNKNOWN]: I don't know if I should make those up.
38:51
[UNKNOWN]: But I picked gold finger, but just because it's emblematic.
38:55
[UNKNOWN]: And it's totally iconic, and I totally get it, and it's totally fair, it's just not, it's only like I'd pick.
38:59
[UNKNOWN]: But real fast, since we're talking about James Bond songs, I want to give a shout out, because I think Cheryl Crow's theme to tomorrow and every dies is quite bad.
39:07
[UNKNOWN]: They had two choices.
39:09
[UNKNOWN]: Katie Lang also did a tomorrow and every dies song.
39:12
[UNKNOWN]: And it plays over the end credits, and it is 20 times better than Cheryl Crowes.
39:19
[UNKNOWN]: It is such a fucking great Bond song.
39:21
[UNKNOWN]: It's one of the great Bond songs, if you ask me, and they dumped into the clothes and credits, because I guess Cheryl Crowe was bigger at the time, or possibly homophobia.
39:28
[UNKNOWN]: I don't know, maybe both.
39:30
[UNKNOWN]: But Katie Lanks reminded her dice, deeply underrated Bond songs.
39:34
[UNKNOWN]: Weird Owls, spyhard.
39:35
[UNKNOWN]: Okay, Robbie, I will be really enlisted of that.
39:38
[UNKNOWN]: Robbie Williams, Johnny English song, very good.
39:42
[UNKNOWN]: Shit, I don't know if you're listening to that either.
39:43
[UNKNOWN]: What is that?
39:44
[UNKNOWN]: Is this is a good stuff?
39:46
[UNKNOWN]: I don't know the title of the song.
39:48
[UNKNOWN]: I don't think I've ever actually watched the first Johnny.
39:50
[UNKNOWN]: The movie Johnny English.
39:51
[UNKNOWN]: Oh, that's Robbie Williams did the open song.
39:53
[UNKNOWN]: You should have just done a bond song proper.
39:55
[UNKNOWN]: I don't know why I did it.
39:56
[UNKNOWN]: I don't know why I did it.
39:56
[UNKNOWN]: I don't know why I did it.
39:58
[UNKNOWN]: I don't know why I did it.
39:59
[UNKNOWN]: What am I going to pick next?
40:01
[UNKNOWN]: Okay, well we're talking about sort of iconic franchises.
40:05
[UNKNOWN]: I have my own iconic franchise.
40:07
[UNKNOWN]: I think this is...
40:10
[UNKNOWN]: It is instantly recognizable.
40:13
[UNKNOWN]: No one else has ever done it.
40:16
[UNKNOWN]: Not like this.
40:17
[UNKNOWN]: Anyway, and it is
40:21
[UNKNOWN]: We're exciting and funny and totally unforgettable and it's the naked gun from the Files of Police Squad I think I have that on my list Is it really?
40:32
[UNKNOWN]: Because the naked gun, do you have any list?
40:35
[UNKNOWN]: I know it was a runner up Nice, okay, so the naked gun from the Files of Police Squad The police squad was a TV spoof
40:44
[UNKNOWN]: series.
40:45
[UNKNOWN]: It basically was making fun of drag net, this ultra-serious cop show.
40:50
[UNKNOWN]: And start Leslie Nielsen, Hot Off of Airplane, or some of the same guys who did Airplane, and it was incredibly funny.
40:57
[UNKNOWN]: It was also
40:59
[UNKNOWN]: to fucking fast pace.
41:01
[UNKNOWN]: It burned out very quickly.
41:03
[UNKNOWN]: In a famous episode.
41:04
[UNKNOWN]: It lasted six episodes.
41:06
[UNKNOWN]: It's considered one of the best cancel TV shows ever.
41:08
[UNKNOWN]: And we reviewed it on our canceled two soon show years ago.
41:11
[UNKNOWN]: And we both came to the conclusion that it was not canceled too soon.
41:15
[UNKNOWN]: There's no way they could have kept that pace go.
41:17
[UNKNOWN]: It was canceled at just the right time.
41:19
[UNKNOWN]: Six episodes left it in the conch.
41:21
[UNKNOWN]: I've been so excited six were.
41:23
[UNKNOWN]: already kind of straining a bit.
41:25
[UNKNOWN]: There was still bring their wags, but they were just, they were clearly running out of material.
41:29
[UNKNOWN]: They were, yeah, we're peeding a lot of gags already, which was kind of the joke.
41:33
[UNKNOWN]: Yeah.
41:34
[UNKNOWN]: He visited the same like Shushine boy and they sold the same joke every episode.
41:38
[UNKNOWN]: Yeah, but they smartly, well, first of it's impressive that they were able to make it into a movie after a wasn't in successful TV series, but,
41:46
[UNKNOWN]: They smartly realize that this doesn't have to be a spoof of drag now, this could also be a spoof of top movies, much like dirty hair or eventually leave the weapon.
41:56
[UNKNOWN]: So they did a series of three movies for with the very funny reboot with Liam Nason.
42:04
[UNKNOWN]: I'm starring Leslie Nielsen as Detective Lieutenant Frank Dreben, who is an absolute doofus and it's full of absolute nonsense, guys, and it's incredibly funny.
42:15
[UNKNOWN]: And the opening title sequence, first off, has this fantastic brassy theme song.
42:22
[UNKNOWN]: It's the theme song from the TV show I understand that but I think it's funny is that I saw the naked Gun movies many times for I really watched police squad.
42:30
[UNKNOWN]: I assumed that the title sequence for the naked gun was from the show It's not it's made just for the movie we are
42:38
[UNKNOWN]: mounted.
42:39
[UNKNOWN]: The camera is mounted on the hood of a police car right behind the flashing lights.
42:44
[UNKNOWN]: Now this is an earlier age of police cars with a flashing light was like a little bit dull.
42:49
[UNKNOWN]: So it doesn't take up the whole bottom of the screen, but it's right there in the middle.
42:53
[UNKNOWN]: And so we're driving on top of this car with this incredible brassy exciting musical score.
43:00
[UNKNOWN]: The car is driving through town.
43:02
[UNKNOWN]: driving through town and you're going to have to forgive me if I mix up jokes from the sequels because they all this ain't opening.
43:07
[UNKNOWN]: But then like we're driving through town or driving through town, we're driving through a car wash.
43:13
[UNKNOWN]: We're driving through a mall, we're driving up some stairs, we're driving like everywhere a car should not be.
43:19
[UNKNOWN]: And in the sequels, they get increasingly absurd.
43:21
[UNKNOWN]: Like there's one where we see it like in this dark, wet tunnel of some kind.
43:26
[UNKNOWN]: Yeah.
43:26
[UNKNOWN]: And then like it's suddenly going very slowly in the music still playing.
43:30
[UNKNOWN]: Did it?
43:31
[UNKNOWN]: Yeah.
43:32
[UNKNOWN]: And then we see an aperture open and we realize the car's being born.
43:39
[UNKNOWN]: Yeah, because it really comes out into like the the birthing room and all the doctors freak out in the cars now in the operating room What's genius about it is that first off.
43:47
[UNKNOWN]: It's just in and of itself if they had played it straight It would have been iconic because the music is that good and the imagery is that exciting and if you just put that in a car chase would have been fine But they're also teaching you
44:00
[UNKNOWN]: How to watch the movie because the thing when they get gun movies is there's always a silly joke But then the tone always resets very quickly within a few seconds to dead serious and as soon as you get adjusted to okay We're we're gonna have a serious moment.
44:14
[UNKNOWN]: Nope.
44:14
[UNKNOWN]: We're gonna
44:16
[UNKNOWN]: So they teach you that watch this credit sequence where everything is just kind of traditional.
44:21
[UNKNOWN]: Cool.
44:21
[UNKNOWN]: Here's the visual language.
44:23
[UNKNOWN]: We're just driving in a POV shot and then it's just going to get silly.
44:27
[UNKNOWN]: You're going to have to get used to that or you're watching the wrong moving.
44:32
[UNKNOWN]: fucking brilliant, it never gets old, it's always funny.
44:37
[UNKNOWN]: I used to think when I was a kid that that like light on the car, I used to like anthropomorphize that.
44:44
[UNKNOWN]: I considered that guy a character.
44:46
[UNKNOWN]: The light was like he was he was just wandering around.
44:50
[UNKNOWN]: You know, just like looking for adventure.
44:52
[UNKNOWN]: Love that guy.
44:54
[UNKNOWN]: the driver or the like the light okay I have a tendency of my okay my whole life I have answered for more files like everything like I like sometimes I get like impatient in an elevator I'm like come on and as I leave the elevator
45:10
[UNKNOWN]: I will always apologize to the elevator, it's not your fault man, so I'm in a rush.
45:14
[UNKNOWN]: Like that's, I do it every time to all sorts of things.
45:20
[UNKNOWN]: You ever buy something because you feel guilty for not freeing it from its confines of the store?
45:27
[UNKNOWN]: No, you're like feel bad when you shut a book too fast and too hard.
45:32
[UNKNOWN]: No.
45:33
[UNKNOWN]: Okay.
45:33
[UNKNOWN]: Well, that's that's the way my brain works I don't shut books hard.
45:36
[UNKNOWN]: I just closed them when I'm done reading I'm good.
45:38
[UNKNOWN]: Well, I do now because I learned my fucking lesson if I really enjoyed the book I kind of closed it tenderly Don't say there you go.
45:46
[UNKNOWN]: It's not reflecting on the experience.
45:47
[UNKNOWN]: I just had part of it reading a lot more recently It's good.
45:50
[UNKNOWN]: Happy about part of it is an extremely over-developed guilt complex
45:54
[UNKNOWN]: I just feel like everything is my fault, and I'm not there being working on it, but regardless, so that's always been an extra little boost of that.
46:01
[UNKNOWN]: What's your next pick?
46:02
[UNKNOWN]: Okay, well I also have a silly one, and this is also one that's pretty well known, but it's a much of Python and the Holy Grail.
46:08
[UNKNOWN]: It's on my list as well.
46:09
[UNKNOWN]: It's inescapable.
46:11
[UNKNOWN]: It's one of the great.
46:12
[UNKNOWN]: And it's great because it's just the credits.
46:15
[UNKNOWN]: The sequence shows the credits for the film.
46:19
[UNKNOWN]: All the writers, all the actors, the cast.
46:22
[UNKNOWN]: But it came in the mid 70s when a lot of international cinema was just sort of infiltrating the English-speaking world in the United States alike.
46:33
[UNKNOWN]: So I think audiences were a lot more comfortable with subtitles.
46:36
[UNKNOWN]: And you would go to Grindhouse as you'd get subtitled versions of international prints.
46:42
[UNKNOWN]: And the makers of Holy Grail sort of,
46:45
[UNKNOWN]: Almost made it look like they slipped you the Swedish print by accident and and by the way a very serious movie It's black screen Just words It's really serious Storksounding music Boom, it feels like we're about to jump to my film and there are subtitles to it But we don't really need to subtitle the name so we just subtitle like you know directed by or whatever and then it's like here's the cast
47:13
[UNKNOWN]: And then it says, like, Monty Python, Ike, then Holy Grail, and yeah.
47:17
[UNKNOWN]: And then it says, like, after the main cast, it would say something like, you know, with, you know, the people who are credited secondary.
47:23
[UNKNOWN]: And then it says, like, we, we have also, also, also, also, we have.
47:29
[UNKNOWN]: And then as the credits keep going, if you look at the credits themselves are not funny, the subtitles get increasingly elaborate and way more absurd.
47:40
[UNKNOWN]: And start talking about like,
47:42
[UNKNOWN]: being beaten by a moose?
47:44
[UNKNOWN]: Well, at one point, one of the critters is just like, why not try a holiday to Sweden this year?
47:50
[UNKNOWN]: see our majestic lakes including the lovely mood and it goes off into the story about somebody who was trying to carve their initials in a moose with a sharpened end of a spoon and then finally the credits shut down and they acknowledge that the subtitles got out of hand.
48:05
[UNKNOWN]: Yes, whoever was in charge of doing the subtitles has been sacked.
48:09
[UNKNOWN]: We acquired them, we're going to go on and they start up and then of course the silly credit happens immediately so they shut down again.
48:17
[UNKNOWN]: And they do this a couple of times until finally whoever was in responsible for getting these credits done and apparently they didn't have the time where budget to fix what had already been done.
48:26
[UNKNOWN]: Oh, and the budget, they said it it cost them an awful lot.
48:29
[UNKNOWN]: Yeah, yeah.
48:31
[UNKNOWN]: But they can only do the back half though.
48:32
[UNKNOWN]: You couldn't redo it all from the beginning so they said a great expense.
48:35
[UNKNOWN]: We have finished the credits and an entirely different style, and then it is like a brash, Maryachy tune, flashing lights, and every other credit in somehow involves a llama.
48:50
[UNKNOWN]: Let's see.
48:52
[UNKNOWN]: and that the director's credit now the film was directed by Terry Jones Terry Gilliam is a tight credit as a co-director is really more of a production designer and the animation segment as well yeah um but the movie was directed by 40 specially trained Ecuadorian mountain lamas six Venezuelan red lamas 14 North Chilean guanacos closely related to the lama it says in the credits red lama of Brixton
49:20
[UNKNOWN]: 76,000 battery lamas from Lama Fresh Farms limited near Paraguay and Terry Gilliam and Terry Jones.
49:28
[UNKNOWN]: I can only imagine the deal of arbitration must have been nuts.
49:33
[UNKNOWN]: Can you imagine all of those llamas got credit?
49:36
[UNKNOWN]: So many people who like end up like contributing to like the direction or the writing of a movie can't get credit.
49:42
[UNKNOWN]: All of those llamas must have worked their ass on to get an actual arbitrated credit.
49:47
[UNKNOWN]: I bet there's got to be some wizaker out there who credit their film to bridge Lama of Brickston.
49:56
[UNKNOWN]: Anyway, that's it.
49:56
[UNKNOWN]: It's okay.
49:57
[UNKNOWN]: Yeah, you know, you love it.
49:59
[UNKNOWN]: It's a very familiar movie.
50:00
[UNKNOWN]: If you haven't seen it yet, go for it.
50:02
[UNKNOWN]: It's very funny.
50:03
[UNKNOWN]: Yeah, so there's a reason why people call it one of the funniest of all time.
50:05
[UNKNOWN]: Is it very silly?
50:06
[UNKNOWN]: Yes, of course it is.
50:07
[UNKNOWN]: That's kind of the point.
50:08
[UNKNOWN]: But the movie is great though, and one of the reasons why it's great is that if you actually look at it at a glance, almost it almost always looks like a real film.
50:18
[UNKNOWN]: And they shot it in like national parks and if you turn the camera a little bit to the left you'd see someone's house like it's always very cheap But they disguise it well and The fact that it's a little budget actually makes it more accurate in some ways because they're not trying to make it look fancy and pretty It's just what people were actually like the fight between the green night and the black night Before our surgeets in starts cutting limbs off
50:41
[UNKNOWN]: Um, up until the very last thing, which is, of course, ridiculous is actually one of the most realistic sort fights in any medieval movies because those sorts are big and heavy.
50:45
[UNKNOWN]: They're just way on on each other.
50:46
[UNKNOWN]: They're just way on on each other.
50:47
[UNKNOWN]: They're like, they're not like this.
50:47
[UNKNOWN]: They're just way on each other.
50:48
[UNKNOWN]: They're like, they're like, they're like, they're like, they're like, they're like, they're like, they're like, they're like, they're like, they're like, they're like, they're like, they're like, they're like, they're like, they're like, they're like, they're like, they're like, they're like, they're like, they're like, they're like, they're like, they're like, they're like, they're like, they're like, they're like, they're like, they're like, they're like, they're like, they're like,
50:59
[UNKNOWN]: Now, it's a really great, it's a really funny movie, and again, that title sequence tells you how to watch the movie.
51:06
[UNKNOWN]: Yeah, you're gonna, it treats itself like it's a little smarter than you think.
51:09
[UNKNOWN]: It's also incredibly insipid.
51:12
[UNKNOWN]: So, enjoy!
51:15
[UNKNOWN]: absolute hoot, what a treat.
51:17
[UNKNOWN]: You got to love it.
51:18
[UNKNOWN]: All right, so my next pick, and this is, like you said, it was Holy Girl, right?
51:22
[UNKNOWN]: Almost right, you're right.
51:23
[UNKNOWN]: We can go back to you.
51:24
[UNKNOWN]: I, you're right.
51:25
[UNKNOWN]: Yes, I do also did Holy Girl.
51:26
[UNKNOWN]: Yes, right.
51:26
[UNKNOWN]: So the apologies.
51:28
[UNKNOWN]: I like movies that live action movies that have animated opening sequences.
51:32
[UNKNOWN]: Yes.
51:33
[UNKNOWN]: That sort of stand-apart as little little cartoon shorts on my runners-up are films like Christmas vacation And better off dead.
51:41
[UNKNOWN]: I think those have fun opening animated sequences that a feed into the tone of the movie Better than just opening the movie cold sure.
51:51
[UNKNOWN]: It's got this is going to be a little mad cop.
51:53
[UNKNOWN]: It's going to be a little fun It's very rare.
51:55
[UNKNOWN]: You see the kind of animated sequence for like, you know, I'm like a lot of can move
52:00
[UNKNOWN]: Usually it's usually setting you up a whimsy.
52:02
[UNKNOWN]: Now I'm trying to picture what that would be like Funny games would actually be really fucked up Then you imagine like a really wacky game.
52:11
[UNKNOWN]: Yeah, no.
52:11
[UNKNOWN]: It's it's like Yeah, it's like a common Jerry but like oh my god And they're in like the Gulf Uniform.
52:18
[UNKNOWN]: Oh god.
52:18
[UNKNOWN]: That's fucked up.
52:19
[UNKNOWN]: There'd be hilarious shit They're like drop-and-fills on them and then it's gods.
52:24
[UNKNOWN]: Oh no.
52:24
[UNKNOWN]: Oh, I don't like that at all.
52:25
[UNKNOWN]: I love it
52:27
[UNKNOWN]: All right, what do you have it but this is a movie that you and I are very fond of a nobody else ever talks about but brain donors Oh, I mean we're right up.
52:33
[UNKNOWN]: Okay.
52:33
[UNKNOWN]: Yeah, that's a great.
52:35
[UNKNOWN]: We'll vint in the inventor of claymation claymation is a brand name It's not a medium Stop motion using clay
52:45
[UNKNOWN]: is used by many different artists, Wilvinton, Treadmarked Claymation.
52:51
[UNKNOWN]: He did a Claymation opening for this Marks Brothers' pasties from the early 90s that you were in a very fond of, where it starred Junterturo in the Grautrial Marks Roll, Bob Nelson and the Harpo Roll and Mel Smith in the Chico Roll.
53:08
[UNKNOWN]: But it approaches the Mark's Brothers material as if the Mark's Brothers are just making another movie.
53:14
[UNKNOWN]: Yeah, they're just having to be played by different guys and it's the early 90s now.
53:17
[UNKNOWN]: Yeah, like if the Marks Brothers made a movie now, this is what that would be, and it's basically a riff on night at the opera, but it's the ballet.
53:23
[UNKNOWN]: Yeah, who cares?
53:25
[UNKNOWN]: It's great.
53:25
[UNKNOWN]: It's really funny.
53:27
[UNKNOWN]: There's a lot of like slapstick stuff, but more than anything, it's like just really quick, uh, witty dialogue of a lot of people saying, uh, really silly things.
53:34
[UNKNOWN]: Well, they understand that the genius of the Marks Brothers was their versatility, because like the three stages, they're all stages.
53:42
[UNKNOWN]: uh, Laurel and Hardy were like just two different guys.
53:45
[UNKNOWN]: The marks brothers, they each had their own different brand of comedy, because Groucho was this fast-witted, uh, always smarter than you, Vavelian and Chico was this much more like it was like a con man.
53:57
[UNKNOWN]: But much more down to earth con man type, and then Harpa was a silent comedian.
54:00
[UNKNOWN]: He was, he was basically buster Keaton or Harold White.
54:04
[UNKNOWN]: So,
54:05
[UNKNOWN]: They all had different stick, and they played off of each other great, and if they were alone in a scene, it was just a different kind of comedy.
54:13
[UNKNOWN]: And they were just like, hey, what if that was just a stick people did?
54:19
[UNKNOWN]: And so, John's or Turret, fucking brilliant casting and John's or Turret by the way.
54:22
[UNKNOWN]: He is so good in that movie.
54:23
[UNKNOWN]: He doesn't get to be that funny enough.
54:24
[UNKNOWN]: No.
54:25
[UNKNOWN]: So funny.
54:26
[UNKNOWN]: He's great.
54:27
[UNKNOWN]: I mean, the three leads are all great.
54:29
[UNKNOWN]: Bob Nelson was a stand-up comedian, and that was his chick.
54:32
[UNKNOWN]: He did something he does in the movie as he juggles the handkerchiefs.
54:35
[UNKNOWN]: That's something he did on stage.
54:37
[UNKNOWN]: Don't look up Bob Nelson now.
54:38
[UNKNOWN]: He kind of...
54:38
[UNKNOWN]: fell off the right wing, deep end at one point, and don't look at Melsmith either because he's dead.
54:43
[UNKNOWN]: Well, you look at him up.
54:44
[UNKNOWN]: Yeah, you can look at him.
54:45
[UNKNOWN]: Melsmith is probably best known, and of course this would be considered, and as it should, inappropriate today, but he played the albino in Princess Bride.
54:53
[UNKNOWN]: That's probably best known, most recognizable.
54:55
[UNKNOWN]: And he directed to, he did that film, The Radio Land Murderers.
54:58
[UNKNOWN]: Oh, yeah.
54:58
[UNKNOWN]: He's never rated, I feel.
55:00
[UNKNOWN]: That's a good slapstick.
55:01
[UNKNOWN]: No, that's another really frantic move.
55:02
[UNKNOWN]: Yeah.
55:05
[UNKNOWN]: But, uh,
55:08
[UNKNOWN]: They brought in sort of just their comedic power and let them sort of be their comedic Personas and gave them silly marksbrothers like names.
55:15
[UNKNOWN]: Yeah.
55:15
[UNKNOWN]: Uh, John Chaturro's character, uh, he should have just been named like credit it as Groucho Marks.
55:22
[UNKNOWN]: Yeah, he's Groucho Marks as, uh, as Roland T. Flack Pfizer that that's the very Groucho Marks he made.
55:28
[UNKNOWN]: I mean, maybe the estate wouldn't let him do that.
55:30
[UNKNOWN]: They're probably writing a thing, writing on thin ice as it is.
55:32
[UNKNOWN]: But it's like when you're watching the Muppet Christmas Carol, it doesn't say whoever is voicing Kermit the Frog is Bob Grag.
55:38
[UNKNOWN]: It is as Kermit the Frog is, Bob Grag.
55:40
[UNKNOWN]: Don't answer, Terrow is playing Grojo Marx, playing Roll and Z Black Fiser.
55:43
[UNKNOWN]: Yeah.
55:44
[UNKNOWN]: And so I like all of that and there's like some good silent bits.
55:48
[UNKNOWN]: It's just a really funny comedy.
55:50
[UNKNOWN]: To get you into the mood for that, there's this really, it sounds like a keyboard demo.
55:55
[UNKNOWN]: Like it's a ton of Casio keyboard, but it's really kind of spritly a piece of music.
55:59
[UNKNOWN]: It's catchy, bump bump bump bump bump bump bump bump bump bump bump bump bump bump bump bump bump bump bump bump bump bump bump bump bump bump bump bump bump bump bump bump bump bump bump bump bump bump bump bump bump bump bump bump bump bump bump bump bump bump bump bump bump bump bump bump bump bump bump bump bump bump bump bump bump bump bump bump bump bump bump bump bump bump bump bump bump bump bump bump bump bump bump bump bump bump bump bump bump bump bump bump bump bump bump bump bump bump bump bump bump bump bump bump bump bump bump bump bump bump bump bump bump bump bump bump bump bump bump bump bump bump bump bump bump bump bump bump bump bump bump bump bump bump bump bump bump bump bump bump bump bump bump bump bump bump bump bump bump bump bump bump bump bump bump bump bump bump bump bump bump bump bump bump bump bump
56:19
[UNKNOWN]: But we see this animated version where we get these caricatures, these clay caricatures, of our three lead actors, in Marx Brothers' like scenarios.
56:28
[UNKNOWN]: So here they are wandering into a doctor's x-ray.
56:31
[UNKNOWN]: Here they are at a construction site, that kind of stuff.
56:34
[UNKNOWN]: And we see these little tiny slapstick bits.
56:37
[UNKNOWN]: The gag of the opening bid was that they're all the occasionally we'll chase after an attractive nurse because they're all girl crazy.
56:45
[UNKNOWN]: They're adolescents, you know, that's sort of their stick.
56:49
[UNKNOWN]: There's a duck character that's kind of following them around this kind of like spirit of comedic chaos that's falling around.
56:55
[UNKNOWN]: It's a duck.
56:56
[UNKNOWN]: Yeah, why is it a duck?
56:57
[UNKNOWN]: Because the original draft of the movie was called lame ducks.
57:00
[UNKNOWN]: Yeah, as I think was supposed to be a tribute to duck soup.
57:03
[UNKNOWN]: yeah uh... would you at the last minute they change the title of brain donor so the duck makes no sense in this opening sequence yeah which doesn't make it any worse no i thought it's a little more random but not that much it's not like the movie had any ducks in it to be get well right at the end
57:20
[UNKNOWN]: in the uh... uh... uh... uh... uh... uh... uh... uh... uh... uh... uh... uh... uh... uh... it's not a duck i thought that one was actually a duck because it's one leg i am your son i guess that it's a duck not also with all the swans because they do the duck calls when that's true the movie ends much like a night at the opera with like a performance of this very hoidi toidi uh... production and then the marksbrothers bring absolute comic chaos to it and in this case it's a stewardy ballet and they're doing swan lake and the
57:50
[UNKNOWN]: Comedy gold man so good, but like so like it's just full ridiculously silly things and the absolute best one is There's all these ladies and they're all they're dancing is a swan and then Bob Nelson comes out dressed in a giant duck mascot costume And he's doing all the bits and then Mell Smith and Jantitoro come out in duck hunting uniforms with guns doing duck calls trying to shoot the duck But they're always hides behind the ballet dancers
58:18
[UNKNOWN]: And the dancers are all trying to keep it professional, so continuing the act, well the show must go on now.
58:23
[UNKNOWN]: Fucking great.
58:24
[UNKNOWN]: Oh god, that's fucking funny.
58:26
[UNKNOWN]: He's up really funny.
58:27
[UNKNOWN]: Speed up the music at one point by setting the conductors wand on fires and waves at work at point.
58:33
[UNKNOWN]: It's like Bugs Bunny shit.
58:34
[UNKNOWN]: It's so ugly.
58:37
[UNKNOWN]: It doesn't just open with that animated sequence, though it closes with it, too.
58:41
[UNKNOWN]: They don't know really how to end the movie.
58:43
[UNKNOWN]: So the characters run off camera, and then they just have a little closing animated bit as well, where we get to see the end.
58:49
[UNKNOWN]: I love Will Vintin.
58:50
[UNKNOWN]: Will Vintin is one of the most expressive of animators.
58:54
[UNKNOWN]: I wish he had done more movies.
58:55
[UNKNOWN]: He did one feature film.
58:58
[UNKNOWN]: It was called The Adventures of Mark Twain, and it's a movie I really love.
59:02
[UNKNOWN]: And it is a biopic of Mark Twain.
59:04
[UNKNOWN]: I think it's the second podcast in a row where I've talked about that movie.
59:07
[UNKNOWN]: I think it is actually, yeah.
59:08
[UNKNOWN]: Yeah, check out the adventures of Mark Twain.
59:11
[UNKNOWN]: But yeah, it's just a really great sequence.
59:13
[UNKNOWN]: I think it adds to the comedy.
59:15
[UNKNOWN]: It's a short movie anyway, so why not pat it out with a little animated chore?
59:18
[UNKNOWN]: Yeah, I love animated sequences.
59:20
[UNKNOWN]: I have one of my list as well.
59:21
[UNKNOWN]: The one I want to put in there, because I love it, I think it is very well done and it's for a movie that I genuinely love more than the movie I'm about to pick.
59:29
[UNKNOWN]: But the animator is a creep and I don't want to give them any credit.
59:34
[UNKNOWN]: with that said the opening sequence and it's sequence where true Beverly Hills is John K. John K is a massive creep and I do not support his career and it is very unfortunate that he is connected to this movie I otherwise love.
59:48
[UNKNOWN]: In a vacuum the animation is great but I'm not going to give him a special award for it.
59:54
[UNKNOWN]: But yes, if you just want to see it and acknowledge that it's great while the guy who made it is a
1:00:03
[UNKNOWN]: That is a wonderful animated sequence.
1:00:06
[UNKNOWN]: I will, however, give it to another movie, which the credit sequence to this movie was so good and so iconic.
1:00:16
[UNKNOWN]: The credit sequence got its own spin-off.
1:00:19
[UNKNOWN]: And it is of course the pink pantser.
1:00:21
[UNKNOWN]: That's on my list.
1:00:21
[UNKNOWN]: The pink pantser.
1:00:23
[UNKNOWN]: It's so great.
1:00:24
[UNKNOWN]: And they're all great.
1:00:26
[UNKNOWN]: Even I think with son of the pink pantser, or the one where the pink pantser is conducting the orchestra.
1:00:30
[UNKNOWN]: He walks off screen.
1:00:31
[UNKNOWN]: The theme was sung by of all people Bobby McFarron.
1:00:34
[UNKNOWN]: Yeah.
1:00:35
[UNKNOWN]: That was good, actually.
1:00:36
[UNKNOWN]: Yeah, and so it's Roger Rabbit.
1:00:38
[UNKNOWN]: He's interacting with light action stuff.
1:00:40
[UNKNOWN]: So that's a good sequence too.
1:00:41
[UNKNOWN]: So the pink pantser, the original pink pantser
1:00:45
[UNKNOWN]: all the other pink Panther movies because they hadn't actually like figured out who the star should be.
1:00:50
[UNKNOWN]: But the original pink Panther was this big, uh, heist comedy starring David Niven as a jewel thief who was trying to steal a jewel called the pink Panther because there is an imperfection in the jewel.
1:01:05
[UNKNOWN]: Then if you look closely at it, it looks kind of like a pink Panther.
1:01:09
[UNKNOWN]: It's pretty forced if we're being honest, but we committed to it.
1:01:13
[UNKNOWN]: And David Niven is just being a sleazy charmer.
1:01:18
[UNKNOWN]: Yeah.
1:01:19
[UNKNOWN]: As David Niven was want to do was most of his stick.
1:01:24
[UNKNOWN]: And over the course of the film, he was sort of being hunted by a clueless cop played by Peter Sellers, Inspector Jacques Cluseau.
1:01:37
[UNKNOWN]: it was very clear when you watch that movie that nothing in that movie matters except job clues out.
1:01:44
[UNKNOWN]: Everything else is only, yeah.
1:01:45
[UNKNOWN]: The only time that movie really comes to life is when clues are on screen.
1:01:49
[UNKNOWN]: Yeah, the rest of it is competent at best.
1:01:54
[UNKNOWN]: boring most of the time, if you ask me, but it was very, very clear, Jacques Cluso was a great character, and so they followed that up with the movie called a shot in the dark, which was all about Jacques Cluso.
1:02:04
[UNKNOWN]: That is one of the funniest comedies ever made, that is one of the best sequels ever made, and then after that they brought the title to Pink Panther back, even though most of the movie said nothing to do with the gem, but it was associated with it.
1:02:18
[UNKNOWN]: But in order to sort of sell the idea of the pink Panther, in order to make you really care about this thing, the opening credits, like zoom in on the jewel, and then we can see inside of it, and it's kind of fuzzy at first, and you see the pink Panther, and then the pink Panther comes to life in animation.
1:02:36
[UNKNOWN]: Yeah, and he's live and signed by Fris Friling.
1:02:39
[UNKNOWN]: Yes, one of the older brother's traumatic terrorist guys Yes, and he is he is live and he's kind of sexy.
1:02:46
[UNKNOWN]: He's got this kind of like if he wore a Tuxedo You'd be into him kind of thing like a Joe camel kind of like and he's
1:02:54
[UNKNOWN]: Not like a daffy duck, Mr. Viscamp.
1:02:56
[UNKNOWN]: He's just sort of like a a slag guy who might be up to wrong And he starts like messing with the credits, and then still a little bit more childishly playful I think there's a maturity to him though, and I think a lot of his things we do see him smoke in a second Smoking like he's an adult, but he's a very Impish adult and 100 man seniors thing
1:03:18
[UNKNOWN]: one of the great musical scores I think better than Star Wars man.
1:03:22
[UNKNOWN]: I think Panther score is just like you can't not perk up.
1:03:28
[UNKNOWN]: It's that saxophone solo and which yeah.
1:03:31
[UNKNOWN]: Well you know it's like a slie creeping action.
1:03:35
[UNKNOWN]: Well I think it definitely you can feel like the Panther's pause.
1:03:42
[UNKNOWN]: Bottom, bottom, and the, these, these animated sequences became so popular that they were turned into an animated series.
1:03:53
[UNKNOWN]: Like seven years later, in 1969, and all of the animated series was this cartoon version of Jacques Gluso, who really wasn't very much in the original credit sequence.
1:04:03
[UNKNOWN]: He only had, I think he only appears for like a second, but it was Jacques Gluso on the trail of the pink Panther.
1:04:08
[UNKNOWN]: This pink Panther is clearly committing crimes.
1:04:10
[UNKNOWN]: And this detective was trying to catch him and the ping-pants are always gets the better of him and that's it.
1:04:14
[UNKNOWN]: It was everyone.
1:04:15
[UNKNOWN]: That was every ping-pants are cartoon.
1:04:18
[UNKNOWN]: Same stick every time.
1:04:20
[UNKNOWN]: And they're classics.
1:04:21
[UNKNOWN]: We don't talk about them enough, but that show was really great.
1:04:24
[UNKNOWN]: That's a lot when I was a kid.
1:04:26
[UNKNOWN]: It was very stylish, and of course they all had the theme song.
1:04:30
[UNKNOWN]: And so they all worked.
1:04:31
[UNKNOWN]: I'll say, I'll say that the fourth and fifth movies are like Stone Cold comedy classics.
1:04:36
[UNKNOWN]: The first, a shot in the dark is a little bit, um, I think a little scattered, like it's still trying to narrow in on like what kind of a movie that they want these things to be.
1:04:45
[UNKNOWN]: Okay, then they did the third one and they brought him a spectacluso back, but they didn't get Peter Sellers.
1:04:49
[UNKNOWN]: It was Alan Arkin.
1:04:50
[UNKNOWN]: It was Alan Arkin.
1:04:51
[UNKNOWN]: It does not work.
1:04:51
[UNKNOWN]: And that doesn't work at all.
1:04:52
[UNKNOWN]: He's got a totally different comedic style or the same thing.
1:04:55
[UNKNOWN]: The return of the Pink Panther, though, they got, and like they were just firing on all cylinders.
1:04:59
[UNKNOWN]: Yeah.
1:04:59
[UNKNOWN]: And then they did it again for the fifth one, which was Pink Panther strikes again.
1:05:03
[UNKNOWN]: Yeah.
1:05:03
[UNKNOWN]: Those are hilarious, but I couldn't tell you what happened in them.
1:05:07
[UNKNOWN]: If you put a gun to my head, other like some of the recurring jokes that they did.
1:05:10
[UNKNOWN]: Yeah.
1:05:10
[UNKNOWN]: There's always a joke with the glow, but it always goes differently.
1:05:13
[UNKNOWN]: And it's so great.
1:05:14
[UNKNOWN]: Like he spins the globe, but then he tries to lean on it.
1:05:16
[UNKNOWN]: Yeah, that was a priceless Steinway, not any more.
1:05:20
[UNKNOWN]: Ah, there's the end.
1:05:22
[UNKNOWN]: What are you doing?
1:05:23
[UNKNOWN]: When he's doing the vertical bars, and he jumps off to the side, but then we're just going to stare.
1:05:27
[UNKNOWN]: Yeah.
1:05:29
[UNKNOWN]: It's a terrible place for those.
1:05:33
[UNKNOWN]: I think it strikes again where, um,
1:05:36
[UNKNOWN]: there's a swimming pool at the bottom of like a ramp like a hill and like three cars drive on the pool.
1:05:43
[UNKNOWN]: There's a scene where they're hoisting the first car out when another one goes in see the guys rolling their eyes like that stuff like that.
1:05:50
[UNKNOWN]: It's so good.
1:05:50
[UNKNOWN]: I'm so good.
1:05:51
[UNKNOWN]: Yeah, no, I think those ones are funny.
1:05:53
[UNKNOWN]: I think shot in the dark as about a story like I care more about
1:06:01
[UNKNOWN]: whimsy is if you're madcap hilarity yeah four and five or are the funniest ones but I still think some of the arc is a better movie but in any case don't see six seven eight or nine but uh there's there's a few things okay I will say this I will defend especially the first Steve Martin Pink Panther it's different but it's still funny surprisingly yes yeah
1:06:24
[UNKNOWN]: Because I think that the reason those ones work is that Cluso is actually a very competent character in the Steve Martin movies.
1:06:33
[UNKNOWN]: He has a strange accent and a really weird way of going about things, but he's actually on the case and you can trust him a little bit.
1:06:39
[UNKNOWN]: There's like some people who see through it and like are willing to help him.
1:06:42
[UNKNOWN]: The Peter Sellers Cluso always sort of accidentally succeeded in spite of his incompetence, whereas Steve Martin was a goof in
1:06:54
[UNKNOWN]: Like he was smart.
1:06:55
[UNKNOWN]: Who was the Herbert Lomb character?
1:06:57
[UNKNOWN]: It was the first one.
1:06:58
[UNKNOWN]: It was Kevin Klein.
1:06:59
[UNKNOWN]: That's right.
1:06:59
[UNKNOWN]: The second one was the sequel.
1:07:00
[UNKNOWN]: They replaced him with John Kleece, who was not trying very hard.
1:07:04
[UNKNOWN]: No.
1:07:04
[UNKNOWN]: Kevin Klein was really trying and he was great.
1:07:06
[UNKNOWN]: John Kleece not so much.
1:07:08
[UNKNOWN]: I mean, but Herbert Lomb deserves an Oscar.
1:07:10
[UNKNOWN]: Oh, I know.
1:07:12
[UNKNOWN]: He gets driven mad by Jacques Lussell.
1:07:13
[UNKNOWN]: And he says boss in the first couple of movies.
1:07:15
[UNKNOWN]: And by the end, he's a super villain.
1:07:17
[UNKNOWN]: He tried to destroy the world.
1:07:18
[UNKNOWN]: Just because he hates this one guy so much.
1:07:20
[UNKNOWN]: It's so great, but no, I think they they were smart to just work Clueso around Steve Martin.
1:07:27
[UNKNOWN]: Yeah, rather than try to make Steve Martin do what Peter Sellers did and I also think that they were probably taking a big cue From the Ace Ventura movies because one of the things that made the Ace Ventura movies work better than they should have
1:07:41
[UNKNOWN]: Uh, was the decision and I think this might have been Jim Carey's idea.
1:07:44
[UNKNOWN]: I don't remember, I'm never hearing that story, but I don't know how true that is.
1:07:47
[UNKNOWN]: Um, where originally Jim Carey was like, he's a pet detective.
1:07:50
[UNKNOWN]: He's an incompetent goofball.
1:07:52
[UNKNOWN]: He's a Jacques Luzau character and then was like, wait, what if he's an, he would have he's the absolute ridiculous cartoon character and he's a good cop.
1:08:02
[UNKNOWN]: Yeah, he's a great detective.
1:08:03
[UNKNOWN]: What if he's, what if he's a genius?
1:08:06
[UNKNOWN]: That was the genius of that character.
1:08:09
[UNKNOWN]: Was that, like, hot of me.
1:08:10
[UNKNOWN]: Like, those things should not go together, but they do.
1:08:12
[UNKNOWN]: And I think they brought them into Pink Panther a little bit.
1:08:14
[UNKNOWN]: Yeah, watch the first two thirds of Ace Ventura.
1:08:16
[UNKNOWN]: It's great.
1:08:17
[UNKNOWN]: Yeah.
1:08:17
[UNKNOWN]: Do not watch the last, watch the last act.
1:08:20
[UNKNOWN]: Oh my, it's like the most transphobic thing you could imagine.
1:08:23
[UNKNOWN]: It's so fucking bad.
1:08:25
[UNKNOWN]: Yeah, yeah, like the all the plot points and jokes in the entire third act of all transphobia jokes.
1:08:31
[UNKNOWN]: Like some comedies age like fine wine.
1:08:34
[UNKNOWN]: So like 30 years later, they're funnier than ever before.
1:08:37
[UNKNOWN]: Ace Ventura has aged like milk.
1:08:39
[UNKNOWN]: We're 30 years later, no!
1:08:43
[UNKNOWN]: Do not!
1:08:43
[UNKNOWN]: Like it's hilarious up to that point and once they give the big twist, it's like, oh my god, all based on incredibly wild.
1:08:50
[UNKNOWN]: It's so bad.
1:08:51
[UNKNOWN]: But in any case,
1:08:53
[UNKNOWN]: The original Pink Panther title sequence is the one that started it all, maybe it's not the best Pink Panther animated sequence, but they're all good.
1:09:01
[UNKNOWN]: And I had it on show, you know, the Ink of Bad, because the Pink Panther movies have good opening sequence.
1:09:06
[UNKNOWN]: They never put that cartoon Pink Panther in the movies, although they did allegedly try once.
1:09:11
[UNKNOWN]: There was going to be one that was like a Roger Rabbit thing.
1:09:15
[UNKNOWN]: where the animated character was going to be oh yes, I do so.
1:09:19
[UNKNOWN]: I think that might have even been trying to do that as a TV series, but I think it was too ambitious and they couldn't get it done.
1:09:23
[UNKNOWN]: But yeah, no, they thought about it.
1:09:26
[UNKNOWN]: They never actually incorporated.
1:09:27
[UNKNOWN]: That was always in the credit sequence.
1:09:29
[UNKNOWN]: And he got his own spin-off.
1:09:31
[UNKNOWN]: I don't know any other credit sequence that ever got its own spin-off.
1:09:33
[UNKNOWN]: All right, what's your, well, wait, go back to me because that was on you.
1:09:36
[UNKNOWN]: Yeah, we both have to.
1:09:37
[UNKNOWN]: OK, I'm going to do another animated one.
1:09:40
[UNKNOWN]: All this is kind of weird.
1:09:44
[UNKNOWN]: I think when we think about animated credit sequences, we often think about ones that are connected to live action movies because it's a different tone.
1:09:52
[UNKNOWN]: But there's also one animated movie that has a partially live action credit sequence.
1:10:02
[UNKNOWN]: which is very weird and it's incredibly striking and the movie is a mixed bag at best but boy does the opening of heavy metal always get my blood out of it's so fucking cool big our song that really doesn't know so like the opening of it okay so heavy metal is an animated movie from 1981 uh
1:10:20
[UNKNOWN]: And based on the magazine, there's a French magazine called metal herlan and it was translated in the English as heavy metal and it was like this really elaborate Gorgeously Illustrated series of comic book stories anthology comic book stories But they were all like really violent and sexual they were just there for like you don't have even the album covers brought to life basically
1:10:44
[UNKNOWN]: And they decided to do a movie, great idea.
1:10:46
[UNKNOWN]: They brought a whole bunch of different directors and animators and a bunch of different styles.
1:10:50
[UNKNOWN]: It's hit or miss.
1:10:51
[UNKNOWN]: When it hits, it hits hard.
1:10:52
[UNKNOWN]: When it misses, it's okay.
1:10:55
[UNKNOWN]: I like the cab driver story.
1:10:56
[UNKNOWN]: Kevin Edwards story is cool.
1:10:57
[UNKNOWN]: I like the John Candy Sex Robot one where he abducts someone, but she falls in love with them, even though he's like a little robot, and they have like great stuff.
1:11:05
[UNKNOWN]: Oh, yeah.
1:11:05
[UNKNOWN]: That was kind of funny.
1:11:06
[UNKNOWN]: There's a cool zombies on an airplane one.
1:11:10
[UNKNOWN]: good animation on go yeah no story to speak up but it looks cool um and i also like the one about the guy who's been paid to give uh false testimony at a courtroom but it's got like this he's got like this little orb from Satan that keeps making him say the wrong thing and it's so fucked up um that that's the through line there's this orb made of like pure evil that's like just spreading chaos throughout the universe and it's the one common element through all of
1:11:39
[UNKNOWN]: But, um, I know, again, it's hit or miss when it hits its cool.
1:11:43
[UNKNOWN]: It's probably we're seeing, but the opening is fucking great.
1:11:47
[UNKNOWN]: So it starts off with this very like portentus.
1:11:50
[UNKNOWN]: I'm trying to remember exactly what I said, but like there is a being of pure evil.
1:11:55
[UNKNOWN]: It sounds almost like, you know, Mako's opening from Conan the barbarian, like, let me tell you off the days on high adventure.
1:12:01
[UNKNOWN]: That was another story.
1:12:02
[UNKNOWN]: And then,
1:12:04
[UNKNOWN]: We cut to outer space, and if you, this was only a couple years after Star Wars.
1:12:08
[UNKNOWN]: So this is a pretty familiar sort of image.
1:12:09
[UNKNOWN]: We see a spaceship in space, and then Sammy Heygarm music starts playing.
1:12:14
[UNKNOWN]: It was before it was in Van Halen, and like the sort of pot, like sort of doors on the cargo bay doors on the ship up and up, and they lower
1:12:28
[UNKNOWN]: a Corvette, like a 1950s Corvette with a guy in a NASA space suit driving it and they let him go in the lower orbit and he's like flying through the sky, flying through orbit, he fucking, and this is all, and the car and the guy live action.
1:12:50
[UNKNOWN]: I It's rotoscale.
1:12:52
[UNKNOWN]: It's rotoscale, but it's still not.
1:12:54
[UNKNOWN]: Yeah, the cartoon you think enough.
1:12:55
[UNKNOWN]: It's it's a very distinct look They made it very specifically so that it would look like its live-action animation, but obviously yes, it's a trick
1:13:04
[UNKNOWN]: And then the key, and so we're just, this fucking guy in free fall.
1:13:08
[UNKNOWN]: It's like the Tom Cruise fallout fall.
1:13:10
[UNKNOWN]: Everyone's really excited about, except Tom Cruise is in a space suit in a fucking poor vet, and like that does make it better, and heavy metal music is fucking blaring, and he's falling through the sky, and it's fucking awesome.
1:13:25
[UNKNOWN]: The car lands, and then hits the parachute, which I do not understand.
1:13:31
[UNKNOWN]: I feel like some wire got crossed on that because that doesn't make any fucking sense and then he's zooming through the fucking like Yeah, I think it lines him Australia and he's zooming through the the wild and then he drives up to a house and He where the movie begins and then the movie the credit sequence ends there and that's enough But I will say the next couple like this minute and a half is fucking cool because
1:13:57
[UNKNOWN]: He takes like a briefcase out of the back of the car and he's got a little girl's his daughter She's excited to see him.
1:14:03
[UNKNOWN]: He's been out.
1:14:03
[UNKNOWN]: It's like did you bring me anything and he's like yeah I actually this really cool thing from outer space and he opens it up and it's the green orb that we will soon find out is pure evil And it like Rips the flesh off of her dad's bones right in front of her.
1:14:15
[UNKNOWN]: She looks absolutely horrified and then it starts telling her scary stories
1:14:20
[UNKNOWN]: Thought that was scary.
1:14:21
[UNKNOWN]: Check out this shit.
1:14:22
[UNKNOWN]: Yeah.
1:14:22
[UNKNOWN]: Oh god.
1:14:23
[UNKNOWN]: What a great opening.
1:14:25
[UNKNOWN]: That's not an amazing movie, but what a great fucking opening.
1:14:28
[UNKNOWN]: Like I'm ready for anything right now.
1:14:31
[UNKNOWN]: That's my imagination is excited.
1:14:34
[UNKNOWN]: I wish that we're better.
1:14:36
[UNKNOWN]: Yeah.
1:14:36
[UNKNOWN]: Yeah, heavy metal like has so like it had so much potential.
1:14:39
[UNKNOWN]: Yeah.
1:14:40
[UNKNOWN]: It's like like 70% there.
1:14:42
[UNKNOWN]: Yeah.
1:14:43
[UNKNOWN]: It's almost great.
1:14:45
[UNKNOWN]: And it's uh...
1:14:46
[UNKNOWN]: It's a movie that I would love it.
1:14:48
[UNKNOWN]: I wish they had done like a new one like every 10 years They did another one like 20 years It was it but it was that was heavy metal 2000 and it started Julie She was trying and it was all one story and it was just okay It should have been an anthology thing like it like it did Disney wanted to do Fantasia every few years
1:15:05
[UNKNOWN]: and he would like reuse a couple of the old like orchestral sequences but there'd always be new ones and fentasia was a flop it didn't make any money so it didn't do another one until 2000 six years later yeah but like heavy metal should have been like every ten years we're bringing a bunch of new exciting animators
1:15:22
[UNKNOWN]: bunch of new fucking heavy metal artists that just do wild fucking shit every time and if it's sloppy who cares there's gonna be cool shit.
1:15:30
[UNKNOWN]: I remember about 10 years ago Robert Rodriguez announced that he was gonna be working on a new heavy metal movie and I wish he had.
1:15:37
[UNKNOWN]: Yeah, well he he's one of those filmmakers who like has 12 failed projects.
1:15:41
[UNKNOWN]: Yeah, I know if he was going to he was going to remake fire and ice The franchise at a rough back sheet film, which also could have been cool But anyway, I'm like heavy metal just an okay movie fucking awesome credits What's the next thing I have a few psychedelic space adventures on mine?
1:15:59
[UNKNOWN]: Hey, so that this this Parli is quite directly into it.
1:16:02
[UNKNOWN]: I love the opening sequence for Barbara Rella
1:16:05
[UNKNOWN]: Yeah, oh, that's a good.
1:16:07
[UNKNOWN]: I didn't think of that.
1:16:08
[UNKNOWN]: That's a good one.
1:16:09
[UNKNOWN]: That's a wonderful opening credit take place.
1:16:11
[UNKNOWN]: Yeah, I've been a very sleazy feel.
1:16:13
[UNKNOWN]: Oh, absolutely.
1:16:13
[UNKNOWN]: No, it's the apologetically sleazy feel.
1:16:16
[UNKNOWN]: No, like that's it's the reason it exists.
1:16:19
[UNKNOWN]: Oh, I know.
1:16:19
[UNKNOWN]: It's for the sleaze.
1:16:20
[UNKNOWN]: Jane Fonda plays Barbara Ellis, space adventurer who works for space government of some kind.
1:16:26
[UNKNOWN]: It's all very vaguely sketched out.
1:16:28
[UNKNOWN]: Yeah.
1:16:28
[UNKNOWN]: And she's on a mission to find Duran Duran.
1:16:31
[UNKNOWN]: What is that?
1:16:32
[UNKNOWN]: Future band name?
1:16:33
[UNKNOWN]: Yeah, that's what they got from.
1:16:35
[UNKNOWN]: It's so cool.
1:16:37
[UNKNOWN]: And the advantage is she goes on her totally weird.
1:16:40
[UNKNOWN]: She's savaged by killer dolls in one scene.
1:16:43
[UNKNOWN]: Yeah, she finds a machine that makes you have an orgasm to death.
1:16:47
[UNKNOWN]: Like you do.
1:16:50
[UNKNOWN]: What a way to go.
1:16:50
[UNKNOWN]: Yeah, she runs into an angel who's played by John Philoblaw who looks exactly like Jude law and they're not related to Jude law.
1:17:00
[UNKNOWN]: That's so fucked up for you should not be allowed to do that for many years I thought John Philoblaw was Jude law's father.
1:17:07
[UNKNOWN]: It's weird that he's not
1:17:10
[UNKNOWN]: they're not related.
1:17:11
[UNKNOWN]: It's fucking weird.
1:17:12
[UNKNOWN]: It would be like finding out that William Baldwin and Alec Baldwin have no relation.
1:17:16
[UNKNOWN]: I know Adam Baldwin has no relation, but he doesn't look like those guys.
1:17:19
[UNKNOWN]: Right.
1:17:20
[UNKNOWN]: It's so weird.
1:17:20
[UNKNOWN]: Anyway, moving up.
1:17:22
[UNKNOWN]: You're saying.
1:17:22
[UNKNOWN]: But this is a fantastic way to establish this character.
1:17:28
[UNKNOWN]: Yeah.
1:17:28
[UNKNOWN]: Because Barbara, I play by Jane Fonda.
1:17:32
[UNKNOWN]: seen in sort of a space suit.
1:17:34
[UNKNOWN]: And we don't see her face at first and she gets back on her ship and her ship is a fuck van.
1:17:39
[UNKNOWN]: It's like completely covered in shag carpeting.
1:17:43
[UNKNOWN]: There's a TV on one wall and there's like a little mini borrower on the side Like and there's like no place to sit.
1:17:49
[UNKNOWN]: You just kind of have to lounge around on the shag carpeting
1:17:52
[UNKNOWN]: And we see like her face is slowly revealed by her space helmet, and then they start playing the title sequence, and the credits appear.
1:18:00
[UNKNOWN]: And Jane Fonda begins to, in a very sultry fashion strip off this gigantic space shoot she's in.
1:18:06
[UNKNOWN]: And all the pieces start floating like this.
1:18:08
[UNKNOWN]: Yeah, there's no no gravity, so she's kind of floating and her hair is floating in zero gravity.
1:18:13
[UNKNOWN]: And just as she's like revealing all of her nudity,
1:18:16
[UNKNOWN]: The credits themselves float over to her body and attach an animated fashion around her new body.
1:18:22
[UNKNOWN]: Out of respect.
1:18:24
[UNKNOWN]: Yes.
1:18:25
[UNKNOWN]: But it's also the credits themselves.
1:18:28
[UNKNOWN]: Like the actual lettering is getting in on the sleeves.
1:18:31
[UNKNOWN]: Like you think it's being a cent, you think it's cent stringer, but actually they want her all the time.
1:18:35
[UNKNOWN]: Yeah, these letters are just sort of crawling all over her body.
1:18:38
[UNKNOWN]: And it's like, and then they fly off and spell out the credits and stick back to her again.
1:18:42
[UNKNOWN]: Yeah.
1:18:42
[UNKNOWN]: It's like, we know why we're here.
1:18:45
[UNKNOWN]: we know what we're looking at.
1:18:47
[UNKNOWN]: If the credits were on screen and she wasn't covered, we wouldn't see those damn credits.
1:18:51
[UNKNOWN]: We'd be staring at Jane Fonda, floating zero gravity.
1:18:55
[UNKNOWN]: Oh darn!
1:18:56
[UNKNOWN]: Oh darn!
1:18:56
[UNKNOWN]: But the credits make sure we're paying attention to both this, so it's clever as well.
1:19:01
[UNKNOWN]: Okay, you gotta give him a good way to draw the eye.
1:19:03
[UNKNOWN]: You gotta give Jane Fonda credit.
1:19:04
[UNKNOWN]: She's
1:19:07
[UNKNOWN]: an incredible person and incredible person.
1:19:09
[UNKNOWN]: I have so much admiration for her and her sort of sense of responsibility and all of that and also incredible actor.
1:19:18
[UNKNOWN]: Her performance include is one of the all-time great movie performances we have made, but also just almost anything she's ever done.
1:19:25
[UNKNOWN]: But although she's a great serious actor Barbarella is fucking nonsense and she is completely committed to it She knows it's nonsense.
1:19:32
[UNKNOWN]: Yeah, I am a sex object in this movie.
1:19:34
[UNKNOWN]: Yeah, and that's why we're doing she knows what kind of movie she's in She's playing it to a camp level The character of Barbarella is a like in
1:19:45
[UNKNOWN]: She's really insightful and sort of an action hero and when she needs to be but also kind of clueless when the scene requires it and Jane Fonda plays both of those very very well.
1:19:53
[UNKNOWN]: Yeah, and She's also such a sexual dynamo that she breaks the orgasm machine
1:20:00
[UNKNOWN]: Like this video makes you orgasm.
1:20:02
[UNKNOWN]: It's like Homer Simpson and the donuts in hell.
1:20:05
[UNKNOWN]: Actually, we'll make you eat donuts until you fend till you explode.
1:20:08
[UNKNOWN]: And Homer's like, more, you don't get it.
1:20:11
[UNKNOWN]: People usually go and say it, you're fine with it.
1:20:13
[UNKNOWN]: No, it's like, oh, well, that was really fun.
1:20:16
[UNKNOWN]: You broke my machine.
1:20:19
[UNKNOWN]: So, and of course, it's really kind of dreaming like 60s kind of a ballot about Barbara.
1:20:25
[UNKNOWN]: Barbara, Barbara, Barbara, yes.
1:20:29
[UNKNOWN]: It's really terrific.
1:20:30
[UNKNOWN]: It's so kind of, it's it's it's it's it's the tone.
1:20:32
[UNKNOWN]: It's really Yeah, not that whole movie's big and stupid and silly and yeah credits.
1:20:36
[UNKNOWN]: I'm actually there I think the credits are better than the movie, but the movie is wonderfully designed.
1:20:41
[UNKNOWN]: Oh, yeah it feels like as it much like heavy metal It feels like a sexy European comic brought to life and a concept they do in live action and it's a treat to look at It's very very fun to watch the story is absolutely crap
1:20:56
[UNKNOWN]: Oh, nothing of interest in it.
1:20:58
[UNKNOWN]: It doesn't make any sense.
1:20:59
[UNKNOWN]: It's so fucking bad, but um, but it's also great.
1:21:02
[UNKNOWN]: Um So yeah, so I also have a I want more sci-fi movie.
1:21:09
[UNKNOWN]: Thank yeah, I want more sci-fi movie I do as well so we can go back to that and this is actually a very recent movie and it's interesting because
1:21:18
[UNKNOWN]: I think it's a pretty well-respected movie, I think it got good reviews, but I know more people who are familiar with the credit sequence and the movie itself, not unlike your Lord of War, but I think it's a better movie than Lord of War.
1:21:30
[UNKNOWN]: And this is Coganadas after Yang.
1:21:35
[UNKNOWN]: I don't remember the opening sequence.
1:21:37
[UNKNOWN]: Oh, so great.
1:21:37
[UNKNOWN]: So I love after I am.
1:21:39
[UNKNOWN]: Yeah, after these are really interesting sci-fi film.
1:21:41
[UNKNOWN]: So I was Colin Farrell, Jodie Turner Smith, and an actor named Justin H. Men, as well as Haley Lieu Richardson, who plays a character in another family, which is relevant.
1:21:52
[UNKNOWN]: And it opens with this cool sort of electro-techno dance music.
1:21:59
[UNKNOWN]: And we see this family,
1:22:02
[UNKNOWN]: Colin Farrow, Tony Turnysmith, their little daughter, and both of their kids are Chinese.
1:22:10
[UNKNOWN]: And they're like wearing like kind of jumpsuits, like they're all like wearing the same clothes, and they're all looking at the camera, and we hear kind of a countdown, and we realize that we're about to watch like them do like a dance dance revolution game.
1:22:26
[UNKNOWN]: However, it's in the future, and they're playing against 30,000 other families, and they all have to do synchronized dancing, and if the family isn't in sync, they're gonna be booted out of the game.
1:22:40
[UNKNOWN]: This is a metaphor for the movie, but basically, so we're, so our first introduction of these characters is this count as a sequence, because that ties directly into the plot of them.
1:22:49
[UNKNOWN]: It can't, I don't think those things are mutually exclusive.
1:22:52
[UNKNOWN]: It is credit, stuff.
1:22:53
[UNKNOWN]: Okay.
1:22:54
[UNKNOWN]: Um, so, and it's also thematic as well more than anything else because it's really what we're really seeing is thematic, thematic is fine.
1:23:01
[UNKNOWN]: Yeah.
1:23:01
[UNKNOWN]: We're seeing them dancing.
1:23:02
[UNKNOWN]: And so, all of these characters we don't know them yet.
1:23:06
[UNKNOWN]: We just see them dancing to fun music, all in sync.
1:23:10
[UNKNOWN]: And there are some living room.
1:23:11
[UNKNOWN]: We know the professional dancers.
1:23:13
[UNKNOWN]: So the clearly this family's type of family that rehearses this, you know, just for fun.
1:23:19
[UNKNOWN]: So this sounds like a fun family you'd want to be with.
1:23:23
[UNKNOWN]: We start, and the camera's very static.
1:23:25
[UNKNOWN]: It's all the one frame.
1:23:27
[UNKNOWN]: The colors start changing everywhere.
1:23:28
[UNKNOWN]: It's incredibly vibrant, incredibly just exciting.
1:23:33
[UNKNOWN]: You want to watch this movie.
1:23:34
[UNKNOWN]: You're so thrilled to see this movie.
1:23:36
[UNKNOWN]: And then we also start cutting in these very jump cuts.
1:23:41
[UNKNOWN]: Other families doing the same thing.
1:23:44
[UNKNOWN]: And at least one family is another family we're going to see as well later in the movie.
1:23:50
[UNKNOWN]: So this is a thing people are doing in the future.
1:23:52
[UNKNOWN]: And it is incredibly likable in charm.
1:23:54
[UNKNOWN]: This is a future that is actually very much about people like coming together.
1:23:57
[UNKNOWN]: And over the course of the song, family's doing good.
1:24:01
[UNKNOWN]: It's a lot of sync.
1:24:02
[UNKNOWN]: You realize they're like, okay, well, the daughter is a little not coordinated yet.
1:24:06
[UNKNOWN]: What is she like seven?
1:24:07
[UNKNOWN]: I'm gonna cut her some slack, but she is gonna take us down with her.
1:24:10
[UNKNOWN]: We're only as good as our weakest link, am I right?
1:24:14
[UNKNOWN]: But they get booted out and they all kind of like, ah, oh, we were doing so good that time.
1:24:19
[UNKNOWN]: But they're old, but their teenage son Yang keeps dancing.
1:24:23
[UNKNOWN]: He won't stop and they're like, hey, stop.
1:24:25
[UNKNOWN]: And they don't understand why he's not stopping.
1:24:26
[UNKNOWN]: And then we cut to later and we find out that Yang is an android.
1:24:32
[UNKNOWN]: Yes, that's what I'm moving.
1:24:34
[UNKNOWN]: Yeah, Yang is an Android that their family acquired because they had adopted a girlfriend of their culture and they didn't know how to connect with her on that culture and they didn't want to lose that culture.
1:24:46
[UNKNOWN]: So they basically got like a robot tutor who was also a part of the family.
1:24:52
[UNKNOWN]: And when that robot breaks down, and not unlike Cherry 2000 without the collection sequences, they're trying to figure out what to do.
1:25:00
[UNKNOWN]: Do we get a new one, what are we doing?
1:25:01
[UNKNOWN]: What they realized is they were able to extract his memories, and they realized that Yang was doing things they didn't know he was doing.
1:25:11
[UNKNOWN]: Now, this could be sinister.
1:25:12
[UNKNOWN]: There's a sinister version of that where you find out like, oh, Yang was doing something creepy.
1:25:17
[UNKNOWN]: No, Yang had a life.
1:25:21
[UNKNOWN]: He might have been artificial, but he had his own interests.
1:25:24
[UNKNOWN]: He was interacting with this teenage girl in the store who've been rehearsers, and I think we find out it's like clone.
1:25:30
[UNKNOWN]: And like Colin Ferrell, like judges, the other family for having a clone, even though they have an Android, and there's always something that we look down on other people for.
1:25:39
[UNKNOWN]: And it's a very complicated movie about familial relationships, but also sort of the way that we absorb a doctor co-op other cultures, like Colin Ferrell's character, his job is he's a T expert, but he learned it, like not at home, he learned it from traveling throughout Asia.
1:25:59
[UNKNOWN]: So he's
1:26:02
[UNKNOWN]: you know taking what he wants in other cultures and he's doing very respectfully he's not like being an asset about it he understands what he's doing but it's a complicated conversation on how they're like looking at their own daughter and how
1:26:15
[UNKNOWN]: they monetize this android but also treated like part of the family and it's a long conversation and for a while I wasn't entirely sure how I felt about the film and I think they're definitely some questions it raises that maybe it doesn't handle very well but I think it's so sensitively directed which is weird because that opening is so fun and exciting and the rest of the movie is not like that.
1:26:40
[UNKNOWN]: so it's like we see this like pure joy and this absolute to sort of fun people are having in the future and then we scale it way the fuck back to talk about our feelings for a couple hours and I love it.
1:26:52
[UNKNOWN]: It's great.
1:26:52
[UNKNOWN]: It's a wonderful sequence.
1:26:53
[UNKNOWN]: Just watch it in a vacuum and it's just like I want to see the rest of that movie.
1:26:56
[UNKNOWN]: That movie looks great.
1:26:58
[UNKNOWN]: So I love that.
1:26:58
[UNKNOWN]: I love the opening of the aftery.
1:26:59
[UNKNOWN]: I like the movie a lot.
1:27:01
[UNKNOWN]: I love the
1:27:02
[UNKNOWN]: Um, I have a science fiction that I science fiction movie on my list with a really great opening sequence, and I love the whole movie.
1:27:08
[UNKNOWN]: Okay.
1:27:09
[UNKNOWN]: Um, the, oh, I think the only reason it tanked is because the lead actor was miscast.
1:27:14
[UNKNOWN]: The, uh, is not a good hom solo.
1:27:16
[UNKNOWN]: Oh, my god, I should have thought of this.
1:27:18
[UNKNOWN]: Yeah, right.
1:27:20
[UNKNOWN]: And the director's a creep and the book was on, but he did Valerian in the city of a thousand planets, which is one of the better science fiction films I've seen in the last decade.
1:27:31
[UNKNOWN]: And the third film that we've talked about that is based on a European comic book.
1:27:35
[UNKNOWN]: That's right, so there's some connection there to be sure.
1:27:38
[UNKNOWN]: But yeah, it's based on European comics that predated Star Wars Star Wars evidently took a lot of influence from some of these visuals.
1:27:45
[UNKNOWN]: Yeah, Han Solo, Han Solo shed very, very influenced by David DeHon was cast as this Han Solo like character and he can't play a role like that very well.
1:27:53
[UNKNOWN]: Yeah.
1:27:54
[UNKNOWN]: I liked his chemistry with his co-lead who is played by Cara Delivina.
1:27:59
[UNKNOWN]: She's in the right mood.
1:28:00
[UNKNOWN]: She knows what movies she's making and actually like the relationship they had.
1:28:04
[UNKNOWN]: But they tried to make him into the sort of like dashing would be pirate kind of a character even though it's like a cop And they should have either changed the character or changed the act.
1:28:14
[UNKNOWN]: Yeah, they need to make him a little bit more brooding if you're gonna cast that guy.
1:28:17
[UNKNOWN]: Yeah
1:28:18
[UNKNOWN]: Apart from that, I think the movie is really great science fiction.
1:28:21
[UNKNOWN]: I complain constantly about how big blockbusters and science fiction movies don't let us look around.
1:28:27
[UNKNOWN]: Don't let us see the world, these extraordinary things that we're wondering through, the hero of Russia's past, because it's old news today.
1:28:34
[UNKNOWN]: We don't get this sense of wonder.
1:28:36
[UNKNOWN]: And I think Star Wars is responsible for part of this ironically because they tried to make everything feel really lived in.
1:28:41
[UNKNOWN]: And as far as it was also a travel log, it showed a bunch of cool stuff, but I think a lot of people took the lived in thing to make it seem like everything in space is really humdrum and it's like No, you got it both, it's got to feel like people live there, but it's all for the characters, but not for us.
1:28:56
[UNKNOWN]: Exactly.
1:28:56
[UNKNOWN]: And you've watched the original Star Wars, Dandy.
1:29:00
[UNKNOWN]: you bring the camera into that bar and there's like a many shots of all the creatures in the bar and it's kind of wondrous to us.
1:29:05
[UNKNOWN]: Yeah, it's like, oh, this is really cool.
1:29:07
[UNKNOWN]: We've never seen something like this.
1:29:08
[UNKNOWN]: It doesn't matter that Luke Skywalker has been there before.
1:29:10
[UNKNOWN]: He doesn't really care.
1:29:11
[UNKNOWN]: Yeah, it's a bar.
1:29:12
[UNKNOWN]: Yeah.
1:29:14
[UNKNOWN]: Valerian does that in every scene.
1:29:16
[UNKNOWN]: We get to see these big, expansive, very expensive landscapes that the filmmakers put together.
1:29:23
[UNKNOWN]: There's this opening sequence that takes place in two dimensions simultaneously, which is like it's difficult to describe in yet.
1:29:29
[UNKNOWN]: It's all visually very clear.
1:29:30
[UNKNOWN]: Basically, the characters are in one geographic space, but if they like put on like a piece of machinery or something.
1:29:35
[UNKNOWN]: They put helmet on and they can see into another dimension and interact with that dimension that's in the same physical space.
1:29:43
[UNKNOWN]: And then there's a chase scene where they're running through one space, but their arm is in another dimension.
1:29:49
[UNKNOWN]: And that is extremely hard to conceptualize and it's so fucking cool.
1:29:54
[UNKNOWN]: It's so cool to watch.
1:29:57
[UNKNOWN]: All of the aliens are really cool.
1:29:58
[UNKNOWN]: I think it helps that the characters
1:30:01
[UNKNOWN]: The main setting is Alpha, which is the city of a thousand planets.
1:30:04
[UNKNOWN]: It's this gigantic massive space station that's floating through space where thousands and thousands of aliens have come to congregate and build out upon whenever they get there.
1:30:13
[UNKNOWN]: Yeah, every time a new city arrives they attach it to the space station and it's got that planet.
1:30:18
[UNKNOWN]: gravity, life support, and environment.
1:30:20
[UNKNOWN]: And now it's got like a thousand different environments.
1:30:24
[UNKNOWN]: Yeah.
1:30:24
[UNKNOWN]: Like one space every biome is in there.
1:30:26
[UNKNOWN]: And this fantastic chase sequence where Valery and the data on characters breaking through walls going from biome to biome and the filmmaking is so sharp that we actually get to see each unique biome as brushes through all of these
1:30:40
[UNKNOWN]: If he can't picture it, imagine that chase at the end of Ferris Bueller's day off or Ferris Bueller's like running from one backyard to another.
1:30:47
[UNKNOWN]: Except every time you ran into another backyard, he burst through the wall, like cool aid man, and he's on a new planet.
1:30:52
[UNKNOWN]: Yeah, so now he's in like a frozen ice swirl, and another one where he's in like a trippy kaleidoscope world, and another one like every fucking one is insane.
1:31:00
[UNKNOWN]: It's so cool, visually awesome, and the way it opens, first of all, it opens with space Auditing.
1:31:10
[UNKNOWN]: Yeah.
1:31:11
[UNKNOWN]: So we hear David Bowling again.
1:31:13
[UNKNOWN]: It starts a couple of years that the movies came out in 2017, so it's a few years in the future, it's like 2020.
1:31:18
[UNKNOWN]: And the International Space Station has been launched, and we see, I think they're
1:31:24
[UNKNOWN]: American astronauts and Russians, I think.
1:31:27
[UNKNOWN]: Well, the first thing that happens is the Russians come and they land and there's zero gravity and they kind of hug.
1:31:32
[UNKNOWN]: It's like, welcome aboard.
1:31:34
[UNKNOWN]: Yeah, they greet each other and they greet each other and it becomes this montage that lasts a century where, uh, because the Russians go up and they attach themselves then, another,
1:31:44
[UNKNOWN]: country of astronauts comes up and they're and they kind of shake hands and eventually it's like a near into the future Things are spinning.
1:31:52
[UNKNOWN]: They have gravity now The first astronaut a little bit older He's shaking hands and the entire montage is new people come on board this station shake hands station gets bigger New people come on board shake hands guys get a little older at one point guy dies replace by guy who looks a lot like him clearly as son This is like the international things and of course
1:32:13
[UNKNOWN]: Aliens sure is contact but they shake hands yeah and then the aliens like make sure on this thing as well and then more aliens and then more until finally the space station is so big It has its own like center of gravity and they have to release it into the universe We're really like in danger earth.
1:32:30
[UNKNOWN]: Yeah, so now it's this.
1:32:31
[UNKNOWN]: What do you load in their planet?
1:32:33
[UNKNOWN]: There's a little thousand planets little voice over a little candy Oh my record how are yeah, who says?
1:32:38
[UNKNOWN]: Oh, I'm the president of earth now.
1:32:39
[UNKNOWN]: This is only saying
1:32:41
[UNKNOWN]: Alpha is getting too large so off you go and more aliens join in the aliens get more and more outlanders looking And it's basically how to see his hit hard Yeah, really this is like controlled and you get you want to cry.
1:32:55
[UNKNOWN]: It's like up hopeful and and that again That's what about my suppose, but like so emotional is my point that that whole opening sequence though could be a short film just about a cool science fiction station Yeah, the origin of alpha
1:33:10
[UNKNOWN]: Yeah.
1:33:10
[UNKNOWN]: And what I love about that opening sequence is the movie pays off on that setup.
1:33:16
[UNKNOWN]: Yeah.
1:33:16
[UNKNOWN]: It becomes like we actually get to see and we get to explain and look around on how thought we get to see how it operates.
1:33:23
[UNKNOWN]: The computer systems, the food, the Star Trek shit that I wish we were in every site.
1:33:29
[UNKNOWN]: It's all in there, and I think that opening sequence is just, yeah, it's just really optimistic way of all these cultures coming together and just living together on this gigantic awesome space city.
1:33:40
[UNKNOWN]: It's great.
1:33:41
[UNKNOWN]: It's a great story.
1:33:42
[UNKNOWN]: It's like I wish the director weren't such a creep.
1:33:44
[UNKNOWN]: I know it sucks so much Cause I he's another one eat you know some creeps have talent and it's frustrating Creeps have talent all the time.
1:33:52
[UNKNOWN]: Creeps have talent all the time But you don't want to change your character.
1:33:54
[UNKNOWN]: They're creep.
1:33:54
[UNKNOWN]: I need to support their career But like yeah, you looped a son was a filmmaker who's work.
1:33:59
[UNKNOWN]: I enjoyed a lot And now that you know some things we know about him and you realize like oh a lot of those movies We were giving him way too much credit.
1:34:05
[UNKNOWN]: They were always
1:34:07
[UNKNOWN]: like you think oh what he's really challenging these interesting ideas like no he was being creepy and we were giving him too much credit yeah wait we assumed he wasn't being creepy and thought he was telling us like daring interesting ideas that were really kind of challenging us no he was actually he was being extremely creepy yeah he's just doing it straight yeah not cool um but but I digress no it you're right that is a good incredible sequence um
1:34:30
[UNKNOWN]: I don't know if I can, so we've talked a lot about sort of sequences that are helping sort of set up the story, tell the story, represent the story.
1:34:39
[UNKNOWN]: There's one credit sequence and remember the first time I saw it very distinctly, it blew my mind and it scared the shit out of me.
1:34:48
[UNKNOWN]: So at some point in every film lovers journey unless unless you don't love horror in which case Fine, you don't necessarily go down that alleyway, but if you do love horror at some point in your travels You're gonna run into Darryour agenda
1:35:03
[UNKNOWN]: And your first Argento provided it's early Dario Argento is usually going to be a very formative experience.
1:35:09
[UNKNOWN]: If it has an animal in the title, you're in good hands.
1:35:11
[UNKNOWN]: Yeah, or if it's a spirit, or a lot of people, it's a spirit, and of course, a spirit is great.
1:35:17
[UNKNOWN]: But, and Dario Argento's early work, he worked largely within the Gialogiano.
1:35:23
[UNKNOWN]: And the Gialogiano was a progenitor who was one of the things that inspired American Slash from movies, but was different because the Gialogiano
1:35:32
[UNKNOWN]: Well, there were detective stories, whether the police were involved or not, oftentimes they were like normal people who stumbled across a murder and then started to investigate that murder and often I think in Americans that would be sort of like a plucky Nancy Drew thing except all of the killers.
1:35:46
[UNKNOWN]: It was never like, oh, I killed this person in order to forge their will so I could still their lands.
1:35:53
[UNKNOWN]: You're only ever going to commit one murder, right?
1:35:55
[UNKNOWN]: The Columbus thing.
1:35:59
[UNKNOWN]: And the geologian, right?
1:36:00
[UNKNOWN]: It's usually, you stumble across a murder, but the murderer is a serial killer of grotesque.
1:36:08
[UNKNOWN]: proportions.
1:36:09
[UNKNOWN]: Not just like, oh, the killed people, like, no, they are a larger than life monster.
1:36:15
[UNKNOWN]: And they're going to keep killing in elaborate ways.
1:36:19
[UNKNOWN]: So awesome.
1:36:21
[UNKNOWN]: Very, very scary, usually.
1:36:23
[UNKNOWN]: It's surprisingly grounded.
1:36:25
[UNKNOWN]: Tonally, a bit all over the place, Italian cinema is often like that where they'll be very grim and scary seeing followed by a truly bizarre shift to comic relief, which is very true.
1:36:36
[UNKNOWN]: And the movie I'm about to talk about because I'm about to talk about his deep red.
1:36:40
[UNKNOWN]: Oh, okay.
1:36:41
[UNKNOWN]: Deep red is I would say Dorio or Chento second best movie.
1:36:47
[UNKNOWN]: after Suspirit, I think it works better as a movie than Suspirit.
1:36:52
[UNKNOWN]: Well, Suspirit is a serious movie.
1:36:53
[UNKNOWN]: Yeah, Suspirit is like a nightmare.
1:36:55
[UNKNOWN]: It doesn't make the plot makes no sense.
1:36:57
[UNKNOWN]: And it's not trying to, that's not a dig, but deep red is actually like a proper story.
1:37:03
[UNKNOWN]: It's got an incredible like, I'm going to talk about the credits in a minute, but it's got a great hook.
1:37:09
[UNKNOWN]: So the opening of the movie is like a big,
1:37:13
[UNKNOWN]: It's sort of symposium, lecture, series.
1:37:16
[UNKNOWN]: People aren't as beautiful giant theater clearly like old as hell in Italy.
1:37:22
[UNKNOWN]: And they're talking about psychic phenomena.
1:37:25
[UNKNOWN]: And someone is trying to prove that psychic phenomena is real and they've got a psychic medium on stage.
1:37:30
[UNKNOWN]: And they're like, okay, and I will give her an opportunity to show that she knows what she's doing.
1:37:36
[UNKNOWN]: So she's going to read the minds of the people and the audience.
1:37:40
[UNKNOWN]: And she starts sort of, you know, closing her eyes and focusing and she realizes that someone in the audience is a murderer.
1:37:49
[UNKNOWN]: Someone in the audience is a horrible, brutal murderer and later that night, that murderer kills her and this one random guy played by David Hemings who you might also know from blow up, which is a similar film in some ways.
1:38:06
[UNKNOWN]: He's there.
1:38:07
[UNKNOWN]: He witnesses or get there right after the murder and he's just dragged him to it and he becomes obsessed with finding the real killer.
1:38:14
[UNKNOWN]: And also, as it's common with a lot of Dario Argento stories, he's obsessed with the idea that there's a clue he missed.
1:38:22
[UNKNOWN]: This is true in the British also part of blowout.
1:38:24
[UNKNOWN]: That's it by folks that's part of blowout.
1:38:25
[UNKNOWN]: It's part of the British all plummeted.
1:38:27
[UNKNOWN]: Our agenda is first directorial film.
1:38:28
[UNKNOWN]: You witness some murder and then you keep going back to it like there's something important that I and by extension the audience missed and it solves everything.
1:38:41
[UNKNOWN]: It's really clever.
1:38:42
[UNKNOWN]: It's really good.
1:38:43
[UNKNOWN]: It's a really, really good thing.
1:38:44
[UNKNOWN]: And trick is you can't flash back to it too much with the audience.
1:38:46
[UNKNOWN]: It's going to pick up on it.
1:38:47
[UNKNOWN]: They do play fair.
1:38:49
[UNKNOWN]: But it's all very intense and it's all very rapid-edited and you get that sort of sense where, you know, in real life if something really intense or traumatic happens.
1:38:58
[UNKNOWN]: People usually don't form incredibly vivid memories about it.
1:39:02
[UNKNOWN]: You get more of a sensation of it.
1:39:03
[UNKNOWN]: It's hard to remember the face of a guy who might have attacked, you know, you were stole your wallet or something like that.
1:39:09
[UNKNOWN]: It's like I'd do a sap and so fast, and I was so scared, you know.
1:39:13
[UNKNOWN]: But, anyway, that's the plot.
1:39:16
[UNKNOWN]: The credits start off very simply.
1:39:20
[UNKNOWN]: Title cards.
1:39:22
[UNKNOWN]: Cast.
1:39:23
[UNKNOWN]: incredible fucking scary score.
1:39:27
[UNKNOWN]: Dario Agenda used to work in the bank called Goblin and their work is fucking incredible a record store day had a goblin singles collection on white vinyl.
1:39:36
[UNKNOWN]: I have it.
1:39:37
[UNKNOWN]: Oh, thank you.
1:39:37
[UNKNOWN]: Yeah, that's so fucking good.
1:39:41
[UNKNOWN]: But yeah, it's very like it's interesting because it's like kind of pulsing and repetitive and that John Carpenter's Halloween kind of way But it's also Extremely electronic and not afraid to be danceable like you could have a very cool goth dance So fucking cool, but then
1:40:04
[UNKNOWN]: It's like the movie is impatient.
1:40:07
[UNKNOWN]: And we're watching the credits, we watch about half the credits with this really fucking cool score, and then the credits stop, half way through the credits.
1:40:18
[UNKNOWN]: It's not like, you know, we're at dumb with the credits, whatever, it's just randomly, never, you never see this in a movie.
1:40:26
[UNKNOWN]: randomly the credit stop and we have a single friend with a like childlike sort of nursery rhyme kind of playing la la la la la la la la la la la la la la la la la la la la and you see a Christmas tree and it feels very idyllic and then you realize that there is a silhouette in uh against the wall on the left side of the screen of two people struggling.
1:40:52
[UNKNOWN]: then you hear someone fall and then and the geography and the physics make no sense.
1:40:59
[UNKNOWN]: Which is, it's all territory, it doesn't have to make perfect sense.
1:41:06
[UNKNOWN]: A bloody knife falls into the foreground and then a child's legs, we don't see above the torso, a child's legs, just suddenly walking very, very quickly.
1:41:19
[UNKNOWN]: And then, we cut back to the credits.
1:41:21
[UNKNOWN]: Bump, bump, bump, bump, bump, bump, bump, bump, bump, bump, bump, bump, bump, bump, bump, bump, bump, bump, bump, bump, bump, bump, bump, bump, bump, bump, bump, bump, bump, bump, bump, bump, bump, bump, bump, bump, bump, bump, bump, bump, bump, bump, bump, bump, bump, bump, bump, bump, bump, bump, bump, bump, bump, bump, bump, bump, bump, bump, bump, bump, bump, bump, bump, bump, bump, bump, bump, bump, bump, bump, bump, bump, bump, bump, bump, bump, bump, bump, bump, bump, bump, bump, bump, bump, bump, bump, bump, bump, bump, bump, bump, bump, bump, bump, bump, bump, bump, bump, bump, bump, bump, bump, bump, bump, bump,
1:41:46
[UNKNOWN]: attention is pulled in so many directions.
1:41:48
[UNKNOWN]: It can't wait to be a movie.
1:41:49
[UNKNOWN]: I feel that way about John Carpenter's Prince of Darkness where the credits are like stretched out through the first 20 minutes of the movie.
1:41:57
[UNKNOWN]: Yeah, like they show a scene.
1:41:58
[UNKNOWN]: It's like, oh shoot, we forgot these three credits.
1:42:00
[UNKNOWN]: All the producers okay.
1:42:02
[UNKNOWN]: Okay, the movie.
1:42:02
[UNKNOWN]: Oh wait, wait, we forgot the director as well.
1:42:06
[UNKNOWN]: Yeah, yeah.
1:42:07
[UNKNOWN]: No, I love that.
1:42:07
[UNKNOWN]: I'm so fucking good.
1:42:08
[UNKNOWN]: I love the opening credits to Deep Red.
1:42:09
[UNKNOWN]: And the movie is great as well.
1:42:10
[UNKNOWN]: But like the opening credits really grabbed me.
1:42:12
[UNKNOWN]: I was like, who the fuck is this director to make these decisions?
1:42:16
[UNKNOWN]: It turns out he's entitled.
1:42:17
[UNKNOWN]: He's a billion.
1:42:18
[UNKNOWN]: That's a good choice.
1:42:19
[UNKNOWN]: I didn't think of Deep Red.
1:42:20
[UNKNOWN]: Yeah.
1:42:20
[UNKNOWN]: So I was one of my best friends.
1:42:21
[UNKNOWN]: See, this one's a little bit, I don't know why I don't wait so long to write about this one.
1:42:29
[UNKNOWN]: I'm very fond of open and credits where the credits are physical things on screen.
1:42:34
[UNKNOWN]: Yeah, there's some films the credits.
1:42:36
[UNKNOWN]: I love that.
1:42:37
[UNKNOWN]: So, I know.
1:42:38
[UNKNOWN]: I wanted more of those, actually, and I struggled a little bit.
1:42:41
[UNKNOWN]: Yeah, yeah.
1:42:43
[UNKNOWN]: I can't remember what it was, but I remember it was something where things were like spray pated in the background.
1:42:47
[UNKNOWN]: Yeah.
1:42:47
[UNKNOWN]: Those are fine.
1:42:48
[UNKNOWN]: But the one I really like was, I'm moving that people don't really talk about much anymore, but it's another French science fiction movie, kind of, it's more of a dystopian movie called Delicatessen on the early 90s.
1:42:59
[UNKNOWN]: This was Jean-Pierre Jean-Pierre Jean-Pierre Jean-Pierre Jean-Pierre Jean-Pierre Jean-Pierre Jean-Pierre Jean-Pierre Jean-Pierre Jean-Pierre Jean-Pierre Jean-Pierre Jean-Pierre Jean-Pierre Jean-Pierre Jean-Pierre Jean-Pierre Jean-Pierre Jean-Pierre Jean-Pierre Jean-Pierre Jean-Pierre Jean-Pier
1:43:09
[UNKNOWN]: the city of Australia, which is really good.
1:43:11
[UNKNOWN]: These are like Tim Burton, Terry Gilliam adjacent.
1:43:15
[UNKNOWN]: They're kind of in that matrix, so these kind of like really Guillermo del Toro's in there as well.
1:43:19
[UNKNOWN]: These kind of over-designed, really strikingly original fantasy pictures with like unique premises.
1:43:25
[UNKNOWN]: And they don't, they don't necessarily function as something classical or a modern, but they're kind of the best of both worlds.
1:43:33
[UNKNOWN]: And before they did Cityville, Australia, they did this film called Delicatessen, which takes place in this French apartment building as much more lower budget, but it's still really stylized and cool lighting.
1:43:43
[UNKNOWN]: It's a larger than life, kind of world, yeah.
1:43:45
[UNKNOWN]: And it's the near future, food is running out.
1:43:49
[UNKNOWN]: There's a Delicatessen in this building, and they're running out of meat.
1:43:55
[UNKNOWN]: And there's impoverished people around, where do you think they're gonna get the meat from?
1:43:59
[UNKNOWN]: Yeah, they're gonna ask those impoverished people
1:44:03
[UNKNOWN]: and the open is like we see the guy like with a big meat cleaver sort of stalking around the apartment in a guy's turn to hide in a trash can and we he lifts up the lead to the trash kind of guy's sort of car and he goes ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha
1:44:19
[UNKNOWN]: Cut to the title the title is along the bottom and in the at the top of the frame We see the sign on in front of the delicatessen swing into the light and it's this big golden pig Kind of swings at you and that hard cuts to the credits and it's in the garbage can with the guy
1:44:37
[UNKNOWN]: And the camera very closely follows around just this like bits of filth and detritus and discarded scraps and newspapers and broken sticks and you look very carefully at the trash and the names are on the trash Yeah, and I'm watching that it's one of those things where it tells the story of our own making Yeah, you can see them trying to create this little sculpture and choreograph the credits in such a way where they can kind of read all of the credits And it's all they're all very clear and all very well-lit
1:45:06
[UNKNOWN]: Yeah, the cinematography is fantastic in the movie so it's like it was just like really on it It's really theatrical.
1:45:11
[UNKNOWN]: Yeah, so really cinematic Early jump here Jananne particular.
1:45:14
[UNKNOWN]: Yeah, what a wonderful visual my stro just just absolutely incredible And everything up and it's got a big good work sense.
1:45:22
[UNKNOWN]: I'm a huge fan of nickmags nobody talks about But everything up until omelette that guy is just firing even even in the resurrection, which is not a good story So beautiful a great design right look at movie.
1:45:33
[UNKNOWN]: Oh my god
1:45:34
[UNKNOWN]: I like that he casts some of his like French regulars and then he's like casting like weird character actors like Dan had day on the in alien pictures as an action film.
1:45:44
[UNKNOWN]: Oh, he cast a run problem.
1:45:46
[UNKNOWN]: Who's also in the city of Los children.
1:45:50
[UNKNOWN]: But yeah, for a delicatessen, it is a very bleak, it's a dark comedy, so it is about cannibalism, and it is about this sort of really filthy future world, and I think the title sequence does a lot to convey both the whimsy and the filth.
1:46:06
[UNKNOWN]: Yeah, and I like films that are whimsical and filthy and this is just a title sequence that encapsulates it all It's it's really short.
1:46:13
[UNKNOWN]: You can look it up.
1:46:14
[UNKNOWN]: It's like a million and a half But I just love the way it looks So it's it stands out in my mind when I think of great title sequences that one comes to mind
1:46:22
[UNKNOWN]: No, it's a great bit.
1:46:24
[UNKNOWN]: I love that as well.
1:46:25
[UNKNOWN]: One of my favorite title sequences is from a director who is actually very well known for his title sequences.
1:46:30
[UNKNOWN]: A lot of his title sequences are very popular.
1:46:34
[UNKNOWN]: But one of his less talked about ones and one of my favorites is David Fincher's Panic Room.
1:46:40
[UNKNOWN]: Oh yeah, yeah, it's CGI credits, but the letters are like in physical space.
1:46:44
[UNKNOWN]: Yeah, so like you cast shadows.
1:46:46
[UNKNOWN]: Yeah, it's such a brilliant, and it doesn't call attention to itself.
1:46:49
[UNKNOWN]: It's not exciting, it's actually very quiet, but panic room, it takes place in New York City, and it's a very, you know, claustrophobic thriller, but you know, in a lot of movies, you know, the tiles cards are just sort of superimposed on the action.
1:47:02
[UNKNOWN]: And they're just there.
1:47:03
[UNKNOWN]: They're just, they're for the audience.
1:47:04
[UNKNOWN]: They're not that energetic.
1:47:05
[UNKNOWN]: And David Venture is like, what if we had giant, like, tidal cards, like, directed by David Venture?
1:47:11
[UNKNOWN]: But they're just lightly CG, so that they're in three-dimensional space, and they're just hovering between the buildings.
1:47:18
[UNKNOWN]: Yeah.
1:47:19
[UNKNOWN]: Like, they're just part of the landscape.
1:47:21
[UNKNOWN]: And they're casting shadows, and you hear the background noise of the city.
1:47:25
[UNKNOWN]: There's no exciting score.
1:47:27
[UNKNOWN]: Like, you could burn out hermen this thing.
1:47:28
[UNKNOWN]: It could be incredible.
1:47:32
[UNKNOWN]: eerie and it doesn't really connect to the rest of the movie so I didn't it make my top ten Yeah, but it's such a cool strange Unconfortable look the well the way it does connect to the movie is the credits get smaller and smaller as the sequence goes on Yeah, okay because it is about being an a panic room.
1:47:50
[UNKNOWN]: It's kind of claustrophobic So it starts out in this big expansive sky and then goes into like
1:47:55
[UNKNOWN]: Narrow and Narrow are alleyways it's still pretty extra.
1:47:57
[UNKNOWN]: I'd have to I'd have to re-watch the movie It's been a second since I've seen how I like it.
1:48:00
[UNKNOWN]: Oh, yeah, no, it's great.
1:48:01
[UNKNOWN]: It says on a cool look and my next A pick is actually David Fincher.
1:48:04
[UNKNOWN]: Oh, okay, and there's no shortage You know a fight club where we like start and someone's a dream-a-le-gland And yeah, that's fucking great and it's on so many levels on my runners-off.
1:48:16
[UNKNOWN]: That's fucking cool That's one of the best But it is best and ironically he didn't really direct it
1:48:26
[UNKNOWN]: But, fuck, seven, man.
1:48:29
[UNKNOWN]: Seven has an amazing title sequence.
1:48:31
[UNKNOWN]: Well, it has a music video.
1:48:32
[UNKNOWN]: It doesn't mean it's a video.
1:48:33
[UNKNOWN]: The idea was, David Fincher was originally gonna open seven with, I think it was like gonna be like Morgan Freeman on like public transit or something.
1:48:44
[UNKNOWN]: And they didn't have time to film it or they weren't the lotth ran out of money or whatever.
1:48:48
[UNKNOWN]: And so, but he needed some kind of title sequence to show the studio execs.
1:48:52
[UNKNOWN]: So he had,
1:48:55
[UNKNOWN]: I don't know if it's Cal Cooper, so I will.
1:48:59
[UNKNOWN]: But he had a guy come up and it's like, hey, you guys in your team, can you just come up with like a montage of images?
1:49:06
[UNKNOWN]: Because seven is a story about Brad Pitt and Morgan Freeman are detectives and extrozyed Cooper.
1:49:11
[UNKNOWN]: They're detectives and an extremely bleak, unnamed city could be Chicago, could be New York, could be Los Angeles, doesn't matter.
1:49:19
[UNKNOWN]: But everything is going to hell, morality is falling apart.
1:49:24
[UNKNOWN]: It just feels like all humanity, all the social contracts are falling apart.
1:49:29
[UNKNOWN]: And into this, there is a serial killer who is killing people throughout the city based on the seven deadly sins.
1:49:37
[UNKNOWN]: So the first one they went into represents gluttony and it was a very large guy and the killer basically held him a gunpoint and made him eat until his stomach burst.
1:49:47
[UNKNOWN]: For example, and then there's a greed, there is, of course, that famous bid in merchant of Venice, where someone is told they have to remove a pound of flesh in order to pay off a debt, and so it makes them do that literally, and of course, they bleed out.
1:50:02
[UNKNOWN]: That kind of thing, very, very, very scary, and so he said, okay.
1:50:07
[UNKNOWN]: could you quickly put together like a montage of imagery from the killers sort of perspective like them doing stuff because eventually we're going to see inside their apartment and it's really gross and it's filled with these journals filled with their you know wild terrifying ramblings and all of these creepy things that they've accumulated and it worked and they just decided to elaborate on it and keep it in the movie so
1:50:36
[UNKNOWN]: that opening credit sequence is from the perspective of the killer and we're seeing all these little tiny bit.
1:50:41
[UNKNOWN]: We're basically seeing John Doe, the serial killer scrapbook egg.
1:50:45
[UNKNOWN]: Yeah.
1:50:46
[UNKNOWN]: The whole time and he's like writing and like putting out photos and deep down and he's shaving off his own finger so he doesn't have fingerprints, which is before you know that's what he's doing.
1:50:57
[UNKNOWN]: It makes no sense and it's only terrifying and creepy and it's like um,
1:51:08
[UNKNOWN]: downer remakes of closer, because the original is so upbeat.
1:51:12
[UNKNOWN]: Well, it has a pulse, though, and I think in the in seven, and it doesn't, in the music video, it's a literal human heart and a electric chair.
1:51:19
[UNKNOWN]: Yeah, yeah, but by the point is that it's not slow pace, then this is much more dollar in seven.
1:51:26
[UNKNOWN]: And so yeah, it gets you into the killer's mindset, and it makes the killer a character long before we're going to get to the killer's head.
1:51:34
[UNKNOWN]: We're not going to really get to know the killer in seven until like well into the third act.
1:51:42
[UNKNOWN]: It really works, it is incredibly effective.
1:51:44
[UNKNOWN]: They use like these hand-scralled, you know, credit cards for everybody.
1:51:50
[UNKNOWN]: It's of the part of the serial killer's journal is if the movie was the killer telling their own story.
1:51:55
[UNKNOWN]: Yeah, so incredibly effective.
1:51:57
[UNKNOWN]: And it was incredibly influential.
1:51:59
[UNKNOWN]: Like right after that, every dark movie had to have a seven opening sequence.
1:52:05
[UNKNOWN]: Even if it,
1:52:06
[UNKNOWN]: Mimic had a 7 opening scene.
1:52:09
[UNKNOWN]: Mimic is a movie about giant cockroaches.
1:52:11
[UNKNOWN]: Is the thing to do with you guys?
1:52:12
[UNKNOWN]: Everyone was doing it.
1:52:13
[UNKNOWN]: It was really, really huge.
1:52:15
[UNKNOWN]: And no one ever did it better.
1:52:17
[UNKNOWN]: No one ever did it better than the 7.
1:52:18
[UNKNOWN]: It's just, it's absolutely impeccable.
1:52:20
[UNKNOWN]: It gets the movie off on right up the, the, the right note.
1:52:23
[UNKNOWN]: And again, venture didn't even do that.
1:52:25
[UNKNOWN]: Hey, did they close your music video though?
1:52:28
[UNKNOWN]: Oh, that's true, but he didn't do the opening sequence.
1:52:30
[UNKNOWN]: Oh, which is weird, but all right.
1:52:32
[UNKNOWN]: Just fine, you know, Saul Bass did the credit sequences for stuff like Psycho and Vortica.
1:52:36
[UNKNOWN]: Yeah.
1:52:37
[UNKNOWN]: So, you know, give him credit.
1:52:38
[UNKNOWN]: But, yeah, Cal Cooper and his team did that and they did a fucking great job and it perfectly fit the movie.
1:52:43
[UNKNOWN]: And it's an all-timeer, I can't deny it.
1:52:46
[UNKNOWN]: Yeah, I even like the opening sequence for David Fincher's remake of The Girl With The Dragon Tattoo.
1:52:51
[UNKNOWN]: I don't like the movie, but it is this weird kind of like oily sex, orgy, set to a remix of, um, Emigrant song.
1:52:59
[UNKNOWN]: Yeah, Emigrant song.
1:53:00
[UNKNOWN]: Yeah, great cover.
1:53:00
[UNKNOWN]: Great cover.
1:53:01
[UNKNOWN]: Um, yeah, that one's weird.
1:53:03
[UNKNOWN]: It's like an incredibly dark bond.
1:53:05
[UNKNOWN]: Cratch sequence.
1:53:06
[UNKNOWN]: Yeah.
1:53:07
[UNKNOWN]: I'm not entirely sure it fits the narrative as well as it doesn't, it's just the tone well.
1:53:13
[UNKNOWN]: I'm not sure it actually represents anything as well as it should for me to truly pick it, but it's incredibly striking.
1:53:19
[UNKNOWN]: That's for sure.
1:53:20
[UNKNOWN]: It is a little corny that the film is set in the north.
1:53:24
[UNKNOWN]: And they start with I come from the lend of the ice and it's not like no Yeah, that's yeah, it's still on the nose.
1:53:29
[UNKNOWN]: It's on that cool though What's your okay, we're got two left?
1:53:34
[UNKNOWN]: I'm going to go with the opening dance number from Spike Lee's do the right thing
1:53:40
[UNKNOWN]: Great pig.
1:53:40
[UNKNOWN]: Yeah, that's all my runners up.
1:53:41
[UNKNOWN]: It's okay.
1:53:43
[UNKNOWN]: Yeah, um, do the right thing is so one of the best films of the 1980s Best ones ever, right?
1:53:50
[UNKNOWN]: I want it.
1:53:50
[UNKNOWN]: Yeah, I'm really one of the best about a lot of Tension mostly racially motivated, but so many other horrible things just sort of
1:54:00
[UNKNOWN]: bubbling through this one small new York neighborhood and then a hottest day of year yeah things are already barely holding together but in the heat wave people's just walls start breaking down and people start being worse to each other and it all comes to a head at the end and yeah and everything just sort of explodes in violence and it's it's about sort of the uh how a lot of the oppression felt by impoverished people about the black community especially at the hands of
1:54:27
[UNKNOWN]: abuse of cops who are just sort of constantly tracking through their neighborhoods.
1:54:31
[UNKNOWN]: All of that is always keeping things really tight and things are going to snap at any minute.
1:54:37
[UNKNOWN]: And they do.
1:54:38
[UNKNOWN]: We get to see it snap.
1:54:39
[UNKNOWN]: So it's fitting that do the right thing begins with fight the power, the Earth's development zone.
1:54:47
[UNKNOWN]: and it is set to Rosie Perez, who plays character in the movie.
1:54:51
[UNKNOWN]: She is not a major part.
1:54:52
[UNKNOWN]: Yeah, it's a first movie.
1:54:54
[UNKNOWN]: I think it is.
1:54:55
[UNKNOWN]: And she's dancing in this really active way.
1:54:58
[UNKNOWN]: And part of the sequence is she's dancing in front of essentially the brown stones where a lot of the action takes place.
1:55:04
[UNKNOWN]: But in sort of a...
1:55:06
[UNKNOWN]: theatrical stage set version of them with a really, really, brightly lit and just kind of dancing in there.
1:55:12
[UNKNOWN]: And different sections are lit a little differently.
1:55:14
[UNKNOWN]: Yeah.
1:55:16
[UNKNOWN]: And then there's like a cot where she's dressed as like a boxer and there's like projecting violent historical images on the wall behind her.
1:55:22
[UNKNOWN]: It actually feels like it should be on a stage.
1:55:24
[UNKNOWN]: Yeah.
1:55:25
[UNKNOWN]: But all of this is sort of saying that all of this anger and all of the tension that this movie is about to explore is already coming out and the Rosie Perez character even though she doesn't represent this her character in the movie is in the title sequence kind of the spirit of all of that rage Yeah, that is going to explode forth at some point
1:55:46
[UNKNOWN]: And we're just we we want to fight.
1:55:49
[UNKNOWN]: There's all of this anger.
1:55:50
[UNKNOWN]: There's all of this righteous rage.
1:55:52
[UNKNOWN]: Yeah, about it and it's worth noting that the song that she's dancing to Is fight the power by public enemy, which is a fucking incredible song and I didn't realize it was written for the film Yeah, I thought that was like a single that like Spike Lee because they were obviously contemporaneous, but yeah, no, that's that's for the that's for the moody and it is from a fear of a black planet
1:56:15
[UNKNOWN]: Yeah, but the record, which is one of the better hip-hop records you're going to find.
1:56:18
[UNKNOWN]: Yeah, no, it's such a, it's such a confrontational song, which is great.
1:56:27
[UNKNOWN]: And it's a very confrontational movie and it is a movie that is in its opening credit sequence, daring you to engage with it.
1:56:35
[UNKNOWN]: Like, this is going to be a song about people of color.
1:56:42
[UNKNOWN]: and their culture and fighting back against some fucking bullshit, and there's going to be a strength and power and violence, and also a lot of beauty in the art from of it, because I'll talk to him with a library dance sequence, anyone's ever choreographed or anything, but it is a very intentional performance.
1:57:03
[UNKNOWN]: Like everything she's doing is very...
1:57:06
[UNKNOWN]: uh, uh, striking and in your face and she's great.
1:57:09
[UNKNOWN]: Um, obviously Rosie Perez is fucking great.
1:57:12
[UNKNOWN]: Yeah.
1:57:12
[UNKNOWN]: She's busy ever not been fucking great.
1:57:15
[UNKNOWN]: She's been, I'm pissed.
1:57:17
[UNKNOWN]: We don't see her in more movies.
1:57:19
[UNKNOWN]: What's the last time she saw her last time?
1:57:20
[UNKNOWN]: I saw her and was birds of prey.
1:57:22
[UNKNOWN]: She's like the cop and birds of prey.
1:57:23
[UNKNOWN]: She's really good in it, but seriously, she's one of the great.
1:57:27
[UNKNOWN]: She's always been wonderful and incredible debut.
1:57:32
[UNKNOWN]: And then incredible movie.
1:57:33
[UNKNOWN]: Like, yeah, it's basically impeccable if you ask me.
1:57:36
[UNKNOWN]: Well, the timing of fight the power, I think, is very vital.
1:57:41
[UNKNOWN]: A lot of the, the bigger I,
1:57:44
[UNKNOWN]: hip-hop songs about sort of protest and wrath.
1:57:48
[UNKNOWN]: We're coming out in the late 1980s and sort of the tail end of like the Reagan Bush years.
1:57:56
[UNKNOWN]: And you can hear, I remember hearing at the time from like my boomer parents, that there wasn't protest music anymore.
1:58:04
[UNKNOWN]: And one of that, well, they're referring to, of course, is like full music from the 60s.
1:58:09
[UNKNOWN]: Yeah.
1:58:10
[UNKNOWN]: That like, you know, Bob Dylan, the times are there, change it.
1:58:12
[UNKNOWN]: Yeah, that's easy, a chance, motherfucker.
1:58:14
[UNKNOWN]: That's what they associate with protest music.
1:58:16
[UNKNOWN]: Yeah.
1:58:16
[UNKNOWN]: Hey, guess what public enemy was doing?
1:58:19
[UNKNOWN]: Yeah.
1:58:19
[UNKNOWN]: Guess what NWA was doing?
1:58:21
[UNKNOWN]: Uh, there was, uh,
1:58:24
[UNKNOWN]: all of this protest music was coming up fighting the power that be and it was sort of moving the needle in a way that I think a lot of white audiences weren't acknowledging, especially older white audiences.
1:58:38
[UNKNOWN]: And I feel like this title sequence and the song itself were big enough to start at least reaching some of those people.
1:58:49
[UNKNOWN]: And that's, you know, that's the power of Spike Lee like his movie was was too good to be ignored and Spike Lee has never been
1:58:59
[UNKNOWN]: one to say anything indirectly.
1:59:02
[UNKNOWN]: No, it's very, you know what?
1:59:04
[UNKNOWN]: The idea that like your message should be subtle is an idea invented by people who don't want to hear your message.
1:59:11
[UNKNOWN]: Making a message subtle is meant for an audience that can rest comforted that your movie doesn't have a message.
1:59:21
[UNKNOWN]: I got into fights with other critics about this a lot.
1:59:23
[UNKNOWN]: Yeah.
1:59:25
[UNKNOWN]: Um, I got to interview Spike Lee at one point, you know, which was, uh, it was for his movie Shea Raque, which I also really like.
1:59:32
[UNKNOWN]: Yeah, and I just said, you know, your movie's tend to be pretty, um, pretty direct And he just sort of like chuckles like yeah, we don't pussy foot around.
1:59:40
[UNKNOWN]: Yeah
1:59:41
[UNKNOWN]: No, and I admire that about Spike.
1:59:43
[UNKNOWN]: I'm not about almost any filmmaker as long as they can pull it off and both Spikely pull it off.
1:59:46
[UNKNOWN]: Spikely can pull it off even when he's doing something really sloppy.
1:59:49
[UNKNOWN]: Yeah.
1:59:50
[UNKNOWN]: He is not going to do anything that is underhanded or subtle.
1:59:55
[UNKNOWN]: Even if it is film highest too lowest, which is like half of a great movie.
1:59:59
[UNKNOWN]: What a great movie.
2:00:00
[UNKNOWN]: The second half is great.
2:00:01
[UNKNOWN]: The first half is a fucking mess.
2:00:03
[UNKNOWN]: I like it better than you But the second half is the best part of it.
2:00:06
[UNKNOWN]: Yeah, like the music is bad.
2:00:08
[UNKNOWN]: Editing is bad.
2:00:09
[UNKNOWN]: I don't know what he's doing I think he's kind of bad on purpose, but that's a long conversation We're not talking about that moving All right, so I have two films left my and really this could be a number one, but okay The reason why this isn't my number one is partly because everyone knows it And partly because there's actually two different versions of it
2:00:29
[UNKNOWN]: One of them doesn't have the credit Senate.
2:00:32
[UNKNOWN]: Oh, interesting.
2:00:33
[UNKNOWN]: And the other one.
2:00:33
[UNKNOWN]: But the original.
2:00:34
[UNKNOWN]: And that's considered not the official director's cup because the director died.
2:00:38
[UNKNOWN]: And their cup was never fully restored.
2:00:40
[UNKNOWN]: It was just sort of after the fact by Walter Merck.
2:00:45
[UNKNOWN]: But the original theatrical cut of Touch of Evil.
2:00:49
[UNKNOWN]: That was a great fucking title, I think, with the exact answer.
2:00:52
[UNKNOWN]: So Touch of Evil is a...
2:00:53
[UNKNOWN]: It didn't used to be a title secret.
2:00:55
[UNKNOWN]: Well, it was, well, it did.
2:00:56
[UNKNOWN]: The theatrical cut had it for the decade.
2:00:59
[UNKNOWN]: So, Orson Wells, of course, directed it as a cane with the best movies ever made, but the production of it, or especially the release of it, was a fucking nightmare and it made it very difficult for him to make movies in Hollywood ever since.
2:01:12
[UNKNOWN]: He really didn't have a lot of financial success in Hollywood and was very difficult for him to get movies made.
2:01:18
[UNKNOWN]: And so,
2:01:19
[UNKNOWN]: when it came time in the mid-50s, and he had an opportunity to direct what was basically a B movie that was a film noir about a heroic Mexican cop and a corrupt American cop coming to blows over a crime committed at the border.
2:01:42
[UNKNOWN]: He took it, it was a gig, but he took it very, very seriously.
2:01:45
[UNKNOWN]: He tried to make the best movie he could and it is considered one of the best film the words ever made and with good gossip.
2:01:51
[UNKNOWN]: The opening is fucking iconic and it is truly fucking great.
2:01:57
[UNKNOWN]: The first shot is a big, long, fucking take.
2:02:04
[UNKNOWN]: It starts with a close-up of a time bomb, an old fashioned one with a little timer and they wind it like, sh**.
2:02:11
[UNKNOWN]: And we only got like a couple of minutes on that thing.
2:02:14
[UNKNOWN]: And then we follow the guy who got the bomb.
2:02:17
[UNKNOWN]: You put it in the trunk of a car and like a guy in a lady you get into the car and they start driving to the Mexican border and we start following them through town of this one incredibly elaborate crane shot, which is really ambitious for the kind of movie this was at the time.
2:02:32
[UNKNOWN]: Like people were not putting this much effort into a little bit more at the time.
2:02:36
[UNKNOWN]: They weren't hiring cranes.
2:02:47
[UNKNOWN]: Suspenseful and there's this incredible contrast between we know that car is gonna blow up But the music is actually like very kind of exciting.
2:02:56
[UNKNOWN]: It's a it feels like it's like kind of a party town And then we pan over and we need our our our Mexican hero and his white wife Mexican hero is of course played by Great Mexican actor Charlton has stint Charlton has stint
2:03:11
[UNKNOWN]: There's a joke in the movie Ed Wood, where Ed Wood gets to meet Orson Wells while he's in production on a touch of earphone.
2:03:20
[UNKNOWN]: Yes, Ed Wood is in production on Plain 9 Matterspace.
2:03:23
[UNKNOWN]: This never happened, but it's a great same.
2:03:26
[UNKNOWN]: And here's one of the greatest filmmakers who ever lived and arguably one of the worst.
2:03:30
[UNKNOWN]: and they're having the exact same problem, studio interference, fucking with their movies, the studio ended up re-editing a lot of touch-of-eval, or someone else didn't like it, and he sent a huge long memo saying, please do this to it, they didn't, and then the 90s Walter Merch took all of his notes, and tried to recreate his vision.
2:03:47
[UNKNOWN]: But there's a line in there where Orson Welles, who is played physically by Vincent De Nafrio, who is a dead-ranger.
2:03:53
[UNKNOWN]: But the voice is Maurice Lamar, who's like brain, thinking, and the brain.
2:03:57
[UNKNOWN]: Great hybrid performance.
2:03:59
[UNKNOWN]: And he says, I hate when the studio is trying to control casting.
2:04:02
[UNKNOWN]: They may be want to cast the, they ask me the cast, Charlton Heston is a Mexican.
2:04:06
[UNKNOWN]: which would winces at that point, which is, which admittedly is bad, but it is my understanding that Charlie Destin was already on the project, and he's the one who wanted works and well, so he's actually kind of a slap on the face that Charlie Destin put that line in there.
2:04:21
[UNKNOWN]: It's a fantasy sequence, it's not accurate, but anyway, so like we're following this for meeting the characters and then the credits end and like a few seconds later I think there's a quick cut and then the card blows up.
2:04:35
[UNKNOWN]: Fuck, what a way to open a movie.
2:04:38
[UNKNOWN]: Movies were not opened like that, by the way.
2:04:40
[UNKNOWN]: And every time we do open a movie with a big one or like that now, it is almost universally accepted that we're doing touch of evil.
2:04:46
[UNKNOWN]: Yeah, I'd player did the touch of evil scene and they even talked about touch of evil in the opening long-winter shot throughout this big.
2:04:53
[UNKNOWN]: The players are my runners-off.
2:04:55
[UNKNOWN]: Yeah, because there's a lot of dialogue going on in that sequence as well.
2:04:58
[UNKNOWN]: Yeah.
2:05:00
[UNKNOWN]: I feel like this, that opening sequence of Touch of Evil was what Hitchcock was doing like in the middle of his movies.
2:05:06
[UNKNOWN]: It didn't open his films with that.
2:05:07
[UNKNOWN]: He just had sort of like a cracker Jack sequence.
2:05:09
[UNKNOWN]: Yeah.
2:05:10
[UNKNOWN]: Awesome.
2:05:10
[UNKNOWN]: All said.
2:05:10
[UNKNOWN]: Well, just
2:05:11
[UNKNOWN]: The door opened.
2:05:12
[UNKNOWN]: Yeah.
2:05:13
[UNKNOWN]: That's the way you do it.
2:05:14
[UNKNOWN]: Anyway, the original theatrical cut had title cards over that whole water, and I'd believe the score was only in that version as well, but Gorson was didn't want that.
2:05:24
[UNKNOWN]: He wanted no score and he wanted no credits.
2:05:26
[UNKNOWN]: And so the restored cut, which is the version a lot of people see nowadays, which overall I do think is the better version of the film, has that version of the credits, and this is the one time I will actually fight with Gorson, Gorson, for his director's cut.
2:05:38
[UNKNOWN]: I think the original version is better.
2:05:40
[UNKNOWN]: Really, I think, I do.
2:05:41
[UNKNOWN]: I think the music is a good counterpoint to the suspense.
2:05:45
[UNKNOWN]: It's effective because it's weirdly ineffective.
2:05:49
[UNKNOWN]: And I think the credits, ironically, make the the whole waiting for the bomb to explode, thing, feel more perverse.
2:05:58
[UNKNOWN]: So I actually think it works.
2:06:01
[UNKNOWN]: I think there's a general tendency to believe that every director's cut is better.
2:06:07
[UNKNOWN]: I think every director's cut should exist, but I think sometimes directors aren't necessarily the best gauge of their own stuff and everyone wants to know why I see a director's cut where it's like, okay, maybe a lot of this is better, but also some of it is not, and maybe it did not need to be this, like Zack Snyder's Justice League.
2:06:23
[UNKNOWN]: is significantly better than theatrical cut.
2:06:26
[UNKNOWN]: I will give it that.
2:06:27
[UNKNOWN]: It's also an hour and a half too long.
2:06:30
[UNKNOWN]: It's so fucking bad, especially in the first half.
2:06:35
[UNKNOWN]: They were right to cut that down.
2:06:37
[UNKNOWN]: Like it's just no, we don't need all of this.
2:06:40
[UNKNOWN]: You're just taking your sweet fucking time.
2:06:42
[UNKNOWN]: Yeah.
2:06:44
[UNKNOWN]: We got to get to the Justice League part of like imagine if Mollrats didn't get to the mall until 90 minutes in come on man Get to the get to it a little faster, but anyway Touch me with this class like and yeah, I am picking the original Direct uh not a reckless cut.
2:07:00
[UNKNOWN]: Yeah, I think that's interesting choice Which one of the reasons why I'm not coming from winning a number one?
2:07:04
[UNKNOWN]: Oh, okay, because of course Well, it's a little bit a little bad about it.
2:07:08
[UNKNOWN]: He is dead.
2:07:08
[UNKNOWN]: I think he's dead, but it's just I feel like it's a little
2:07:13
[UNKNOWN]: It's a little not to keep it in the spirit of the thing, but that rate's still great, it's my number two, so we know it is, it's on the list.
2:07:18
[UNKNOWN]: All right, so we're down to our number one.
2:07:20
[UNKNOWN]: I thought we only have two overlaps.
2:07:23
[UNKNOWN]: We have Monty Python, the Holy Grail, and the Pink Panther.
2:07:25
[UNKNOWN]: All right.
2:07:26
[UNKNOWN]: I'm curious.
2:07:27
[UNKNOWN]: I don't think we picked the same thing.
2:07:29
[UNKNOWN]: I'd be surprised if we did.
2:07:30
[UNKNOWN]: I'm guessing you did not pick this.
2:07:32
[UNKNOWN]: Okay.
2:07:33
[UNKNOWN]: Speaking of death, this is a movie all about death.
2:07:35
[UNKNOWN]: It's about the experience of dying.
2:07:40
[UNKNOWN]: It's from the perspective of a dead person.
2:07:43
[UNKNOWN]: And this dead person just happens to be a drughead.
2:07:46
[UNKNOWN]: It goes to a lot of clubs and when you know it The afterlife happens to look like being perpetually lost in a club.
2:07:52
[UNKNOWN]: This is enter the void.
2:07:53
[UNKNOWN]: Yeah, that's for no way This is one why haven't seen the movie but I have seen the credit sequence
2:07:58
[UNKNOWN]: Because the credit sequence will rip your eyeballs out, and it's just the titles.
2:08:04
[UNKNOWN]: There's nothing going on on the screen, except the titles.
2:08:07
[UNKNOWN]: And if you're sensitive to flickering lights, definitely don't watch and enjoy the void, because the whole movie flickers.
2:08:14
[UNKNOWN]: The idea is,
2:08:20
[UNKNOWN]: The movies about trans migration, the film is shot in such a way that we're seeing out from the protagonist's eyeballs, like when he blinks, the image will go black for a split second.
2:08:31
[UNKNOWN]: and there's even some like really great virtuosic camera movements where he's like looking in mirrors or walking through and kind of like see his hands but he goes he gets killed in early in the movie and like I think it's a drug deal that goes really bad and we see his spirit leaving his body it looks down at his dead body and then after that we can't hear this spirit speak it's this disembodied consciousness
2:08:55
[UNKNOWN]: and throughout any kind of like drifts in and out of time and starts relating memories, revises his sister, who's played by a truly terrible positive of her, she's awful in the movie, but as the spirit kind of continues to drift around, we see a lot of reality start to dissipate and like a moth, the spirit is like drawn into these lights and time passes, everything just
2:09:27
[UNKNOWN]: Gaspar no is like one of the only filmmakers who I think has figured out what it might feel like to be a dead spirit Just like what that feels like Okay, and by his Estimation it's going to feel a lot like being on drugs in a club
2:09:43
[UNKNOWN]: maybe that's why I'm guessing this is an experience that's very valuable to him.
2:09:46
[UNKNOWN]: I've heard a lot of people talk about the ecstasy of being on a dance for on ecstasy, the idea of just sort of losing your consciousness in this sort of massive sweat and bodies and chemical highs.
2:09:59
[UNKNOWN]: Not my thing, but I've heard enough about it and I've seen enough movies to know that it's valuable to a great number of people.
2:10:04
[UNKNOWN]: I can understand the appeal with, well, also finally get on a feeling.
2:10:07
[UNKNOWN]: Yeah, I don't like clubs.
2:10:09
[UNKNOWN]: I don't want to go to dance clubs, but I understand what people get out of it.
2:10:14
[UNKNOWN]: And I feel like Gaspar Noia is saying that that's what it's like to be dead.
2:10:18
[UNKNOWN]: And if he's going to drag you into this world, he's going to...
2:10:24
[UNKNOWN]: He's not going to ease you into it.
2:10:25
[UNKNOWN]: Uh, the opening credits come at you like a fucking canon.
2:10:31
[UNKNOWN]: It's just this loud, loud experimental electronic music where it has a beat at first but it kind of loses its beat and each credit is on screen for maybe half a second.
2:10:43
[UNKNOWN]: And it's all of the opening credits, like,
2:10:46
[UNKNOWN]: And like it's all of the studios everything you might see at the beginning of a movie just given to you in as such such a loud scattershot fashion Yeah, each let each word in the title is like crackling with electricity enter the void and then you're just And then you're in it It's it's one of the most striking title sequences.
2:11:04
[UNKNOWN]: You'll see in any movie and it's just the the titles Sure, there's nothing filmed for it and I never seen anything like that.
2:11:11
[UNKNOWN]: It just really took my breath away the first time I saw it
2:11:14
[UNKNOWN]: Yeah.
2:11:15
[UNKNOWN]: No, I mean, I, again, I haven't seen this movie.
2:11:17
[UNKNOWN]: Um, I, and I love the movie a lot.
2:11:18
[UNKNOWN]: Yeah.
2:11:19
[UNKNOWN]: I can, I absolutely appreciate the incredible effort and craft that went into it.
2:11:26
[UNKNOWN]: How could I not.
2:11:28
[UNKNOWN]: Um, and yeah, no, I respected a lot, but I honestly haven't seen it in a while.
2:11:32
[UNKNOWN]: I don't really have.
2:11:34
[UNKNOWN]: I can't really don't have strong opinions about it other than I like it all right because I haven't seen the movie And I don't really know how it connects, but it's very cool.
2:11:41
[UNKNOWN]: Yeah, so cool.
2:11:42
[UNKNOWN]: That's a great pack.
2:11:43
[UNKNOWN]: I am I'm in I'm in trade My number one pick and This this everyone's in a while.
2:11:51
[UNKNOWN]: I like I do like a best of list or something and
2:11:55
[UNKNOWN]: You know, there's a big swing in there.
2:11:57
[UNKNOWN]: There's a movie that people wouldn't expect to be on there.
2:11:59
[UNKNOWN]: And something, I often get excited.
2:12:00
[UNKNOWN]: Oh, you're just trying to be different.
2:12:01
[UNKNOWN]: And I'm like, no, we don't do that.
2:12:04
[UNKNOWN]: I don't, correct.
2:12:05
[UNKNOWN]: Critics, no.
2:12:06
[UNKNOWN]: There are salts, don't do that.
2:12:08
[UNKNOWN]: No, if it's a boring, the boring choice is number one, the boring choice is number one.
2:12:13
[UNKNOWN]: But if I'm saying something that you've may have never seen or may have never heard of, or in this case,
2:12:20
[UNKNOWN]: is a straight-to-video Disney movie.
2:12:22
[UNKNOWN]: Mm-hmm.
2:12:23
[UNKNOWN]: I fucking mean it.
2:12:24
[UNKNOWN]: Ha ha ha ha.
2:12:25
[UNKNOWN]: All right, I'm eager to see what you're about to say.
2:12:30
[UNKNOWN]: The wonderful ice cream suit.
2:12:33
[UNKNOWN]: Oh, it's a wonderful movie.
2:12:34
[UNKNOWN]: It's a wonderful movie.
2:12:35
[UNKNOWN]: The stored Gordon film.
2:12:37
[UNKNOWN]: It's a Stewart Gordon film based on a Ray Bradbury short story that Ray Bradbury turned into a play.
2:12:42
[UNKNOWN]: and Ray Bradbury wrote the script and appears in the movie, and it is not a science fiction story.
2:12:48
[UNKNOWN]: It's very rare.
2:12:49
[UNKNOWN]: It is the only comedy, like straight-up comedy, and it's to record and ever directed.
2:12:53
[UNKNOWN]: It's very typical for Ray Bradbury as well, of course he's best known for sci-fi classics.
2:12:58
[UNKNOWN]: And it is a wonderful cast of uh, uh, it's got, it's got, it's got, um, uh, Edward James almost East side Morales, uh, Joe Montenegro.
2:13:10
[UNKNOWN]: Joe, mate.
2:13:10
[UNKNOWN]: Yeah.
2:13:11
[UNKNOWN]: I'll get to that.
2:13:12
[UNKNOWN]: He got Clifton Collins Jr. back then.
2:13:14
[UNKNOWN]: He was still being credited as Clifton Gonzalez Gonzalez.
2:13:17
[UNKNOWN]: Yeah.
2:13:17
[UNKNOWN]: And who plays the other guy?
2:13:19
[UNKNOWN]: I'm drawing a blank on him.
2:13:20
[UNKNOWN]: Hang on a second.
2:13:23
[UNKNOWN]: because there's another main lead.
2:13:24
[UNKNOWN]: It's John Montana.
2:13:25
[UNKNOWN]: No, no, no, there's another one.
2:13:27
[UNKNOWN]: Oh, okay.
2:13:28
[UNKNOWN]: That I whose name and my phone is of course being incredibly slow right now.
2:13:31
[UNKNOWN]: So this is gonna drive me nuts and give it a second.
2:13:33
[UNKNOWN]: So all those actors are, of course, of Latinx descent.
2:13:38
[UNKNOWN]: Domentania is not and he is playing a guy of Latinx descent.
2:13:44
[UNKNOWN]: not great he's good in it and he was originally in a production of the wonderful ice cream suit that stood Gordon directed for the stage in the 1970s and sadly got the barred okay so he's very good a Gregory Sierra is the actor I was thinking of um
2:14:00
[UNKNOWN]: So it's a story about all of these guys, and they're not rich guys They're actually they're very poor and they all have a dream One of them dreams of finally being able to talk to this girl who lives next to him who he's deeply in love with She never notices him and another one dreams of being a great poet and inspiring people and
2:14:29
[UNKNOWN]: and so on and so forth.
2:14:30
[UNKNOWN]: And they all believe in their heart of hearts that the thing that is getting in their way is that they don't dress well.
2:14:41
[UNKNOWN]: There is a suit, a beautiful white suit.
2:14:46
[UNKNOWN]: So white, it practically glows.
2:14:48
[UNKNOWN]: It's a light source unto itself.
2:14:50
[UNKNOWN]: Yeah, and it's sold by Sitz Caesar.
2:14:52
[UNKNOWN]: Sitz Caesar owns like a used clothing shop, but it's got a perfect suit, but it's too expensive for all of them.
2:14:57
[UNKNOWN]: But if they each pooled their money, they can buy it together and share it.
2:15:04
[UNKNOWN]: They'll each get it like one day a week.
2:15:06
[UNKNOWN]: Yeah.
2:15:07
[UNKNOWN]: They're a little short, and so they end up accepting money from an unhoused man played by Edward James almost who is caked in filth, and they are terrified to let him wear the suit, but they need his money.
2:15:22
[UNKNOWN]: So they all get the suit, and they're all like super excited about, they know it's magical.
2:15:29
[UNKNOWN]: they agree like listen what's all we're all gonna get it like an alternating days we're all gonna be very careful with the suit with all blons all of us but tonight we're each gonna put it on for one hour so over the course of the movie every character puts on the suit miraculously it fits them all even though they do not look like they're the same size.
2:15:48
[UNKNOWN]: And that's the magic of the suit.
2:15:49
[UNKNOWN]: That's magic of the suit.
2:15:49
[UNKNOWN]: It's like the sister of the traveling pants.
2:15:51
[UNKNOWN]: And they each go out for one hour and immediately their life is changed because they put the better for the better and it's come true.
2:15:57
[UNKNOWN]: And they're confident, they feel good about themselves and they work together and they build a sense of wonderful community, the poet, does inspire people.
2:16:08
[UNKNOWN]: The guy does manage to talk to the girl and it turns out the reason she's good in here, I'm as much as he's hard of hearing.
2:16:14
[UNKNOWN]: No, she couldn't see him because she needed glasses.
2:16:16
[UNKNOWN]: Oh, that's right.
2:16:16
[UNKNOWN]: I'm like, I've got that wrong.
2:16:17
[UNKNOWN]: Yeah, she needed glasses because he couldn't see him waving.
2:16:19
[UNKNOWN]: And that's so fucking cute.
2:16:21
[UNKNOWN]: It's so good.
2:16:22
[UNKNOWN]: Another guy is a great, a great guitar player.
2:16:24
[UNKNOWN]: And it's just so fucking wonderful.
2:16:27
[UNKNOWN]: And then they have, and then Edward James almost has turned, and they're like, oh, no.
2:16:30
[UNKNOWN]: And there's a huge montage of the scrubbing.
2:16:32
[UNKNOWN]: I'm like, don't make sure you want to ruin this.
2:16:34
[UNKNOWN]: Like it.
2:16:35
[UNKNOWN]: It's so fucking cute.
2:16:37
[UNKNOWN]: But I haven't gotten to the credit sequence.
2:16:38
[UNKNOWN]: So the credit sequence of the movie is entirely animated.
2:16:44
[UNKNOWN]: in sand.
2:16:47
[UNKNOWN]: They colored sand.
2:16:52
[UNKNOWN]: and they drew pictures in sand, and I'm not talking about gluing it down, either.
2:16:57
[UNKNOWN]: Did you paint on top of it?
2:16:58
[UNKNOWN]: Yeah, you paint on top of it, if I let it.
2:17:00
[UNKNOWN]: And, Judd.
2:17:01
[UNKNOWN]: So, it's basically animation like this.
2:17:02
[UNKNOWN]: It's basically stop motion and in sand, and the sand is swirling and transmolligifying, not just into the letters, but in representations of Mexican culture and the characters in the movie.
2:17:14
[UNKNOWN]: And I'm sorry, man.
2:17:15
[UNKNOWN]: It's fucking magic.
2:17:19
[UNKNOWN]: It is such a beautiful on the music is just very cheerful and celebratory, and it feels like we're just watching something truly pure and astounding that people put so much care into.
2:17:37
[UNKNOWN]: You did not need to go that hard for the waterfall ice cream suit.
2:17:41
[UNKNOWN]: They were making this as like a TV movie.
2:17:44
[UNKNOWN]: like that was the budget for it and then they realized oh this is so fucking good we should put it on theaters and then they realized oh wait we paid everyone TV movie scale if we put this in theaters once we have to raise the rate of everyone who worked on the movie so it only ever went straight to video yeah it's a fucking crime and to the best of my knowledge I
2:18:10
[UNKNOWN]: I saw it on VHS back.
2:18:11
[UNKNOWN]: Yeah, so yeah, I will double check to see if that's changed, but unless it really is a sweet move.
2:18:18
[UNKNOWN]: It's a great film and it's it's it's proof That you don't need
2:18:26
[UNKNOWN]: conflict in a movie to have drama or a story yeah there's almost no conflict in this movie there's like one little bit where it looks like Joe Mantania might be a bad guy and do a bad thing But his story is about him deciding not to there's only a little little bit of tension with the suit But that that comes after everybody's arcs have already been concluded from the positive Yeah, the suit just made their lives better
2:18:49
[UNKNOWN]: That's fine, that's all it needs.
2:18:52
[UNKNOWN]: It doesn't outs, it's very short, it doesn't outs day, it's welcome.
2:18:54
[UNKNOWN]: It is just, again, it is a bit of a bummer that Joe Maintania is, well, so it's, I'm telling American is playing a guy Mexican descent, that's not ideal.
2:19:05
[UNKNOWN]: That's not that's not great.
2:19:06
[UNKNOWN]: That's the real racism.
2:19:08
[UNKNOWN]: It's also very good in it though.
2:19:09
[UNKNOWN]: It's also directed by a white guy and by Ray Bradbury, even though it's about the Latino experience in Los Angeles.
2:19:15
[UNKNOWN]: Yeah.
2:19:15
[UNKNOWN]: Would have been nice if they got a Latino director.
2:19:18
[UNKNOWN]: Absolutely.
2:19:19
[UNKNOWN]: These are all these things are all true.
2:19:20
[UNKNOWN]: But Stuart Gordon is an LA guy.
2:19:23
[UNKNOWN]: So at least he got that part.
2:19:24
[UNKNOWN]: These are kind of okay.
2:19:26
[UNKNOWN]: Stewart Warren's a Chicago guy.
2:19:27
[UNKNOWN]: Yeah, I knew.
2:19:29
[UNKNOWN]: That's how they got started.
2:19:30
[UNKNOWN]: They weren't they did they did it again.
2:19:31
[UNKNOWN]: Oh, well, then never fucking mind I mean, I guess you Ray Bradbury was an LA guy Ray Bradbury was an LA guy.
2:19:39
[UNKNOWN]: Oh, yeah, sir Gordon lived in LA because he was a movie.
2:19:41
[UNKNOWN]: Oh, sure.
2:19:42
[UNKNOWN]: I'm hearing you the area But like I'm not I memory story in Chicago.
2:19:45
[UNKNOWN]: Yeah, I thought it was more in LA very Chicago guy Everybody who's very much part of the David man that sort of gave her sand in Chicago Yeah, I'm gonna I'm gonna
2:19:55
[UNKNOWN]: Check out my computer to see if there's a better way to watch because you can find it online, but I would love it if someone actually cleaned this thing up.
2:20:02
[UNKNOWN]: Oh, yeah, you've probably seen it on YouTube.
2:20:05
[UNKNOWN]: Yeah, but it's gonna be a riff off of VHS.
2:20:08
[UNKNOWN]: Yeah, it's called the wonderful ice cream suit.
2:20:13
[UNKNOWN]: I've kind of a stored Gordon then had done more kid films.
2:20:17
[UNKNOWN]: Yeah.
2:20:19
[UNKNOWN]: You can rent it on Prime Video, so it is accessible.
2:20:22
[UNKNOWN]: Okay.
2:20:23
[UNKNOWN]: I'm curious how cleaned up that is.
2:20:26
[UNKNOWN]: Yeah, I do not know, like if it's like if it looks really really nice or if it's just like a pretty good transfer, but I'm telling you man, it is a fucking crime that this movie hasn't been like picked up by vinegar syndrome or fuck it criterion
2:20:42
[UNKNOWN]: I'm not even fucking kidding man, really it's like a like a an our arrow video Yeah, I'm a man.
2:20:49
[UNKNOWN]: Oh, yeah, I've been interested in maybe but like seriously like there were special de-houses That should have put this out cleaned it up nice
2:20:57
[UNKNOWN]: Got in some special features.
2:20:59
[UNKNOWN]: I got to interview Edward James almost once wonderful guy Did you bring up the ice cream for sighted and he was like I loved working on that movie It was so great and I still think the title sequence was amazing It's so fucking great.
2:21:15
[UNKNOWN]: I love that movie and the title sequence is I swear to God every time I watch it I'm like I know how they do that
2:21:22
[UNKNOWN]: I don't know how they did that.
2:21:24
[UNKNOWN]: I don't know the kind of discipline, like you sneeze and the entire thing is fucked.
2:21:29
[UNKNOWN]: Well, they get so amazing.
2:21:30
[UNKNOWN]: The thing with that kind of sand animation, that's like the animation where you paint on a paint of glass, and you've probably seen a lot of that.
2:21:37
[UNKNOWN]: Even that's magic to me.
2:21:39
[UNKNOWN]: It's so difficult.
2:21:40
[UNKNOWN]: It's magic because it's unlike drawing with hand drawn animation, you draw on a piece of paper and your photograph and you lay them all out together and that's where the movement comes from.
2:21:51
[UNKNOWN]: if you want to in between or make the animation more smoothly you just draw another picture and you inserted in the middle with the glass painting or with the sand you just poured on top if you mess up you can't go back you already covered it yeah so this has to be made in a linear found you have to do it perfectly that's the that's the thing
2:22:11
[UNKNOWN]: I find that genuinely astounding.
2:22:14
[UNKNOWN]: Yeah, yeah.
2:22:14
[UNKNOWN]: And that's, it's beautiful.
2:22:15
[UNKNOWN]: It's not just that it's beautiful because it is.
2:22:18
[UNKNOWN]: It's incredible because of the level of craft it took to do that.
2:22:23
[UNKNOWN]: Again, for straight to video Disney, it's so wonderful.
2:22:28
[UNKNOWN]: So I was tempted to put in this, and this does connect.
2:22:32
[UNKNOWN]: The opening title sequence to the movie freaked.
2:22:34
[UNKNOWN]: Oh yeah, because they, I forgot the name of the animator,
2:22:40
[UNKNOWN]: I don't know how you even picture this in your head, but what he did was he sculpted out of clay like a gigantic loaf of clay and he was able to use like a big string and cut off like a slice of bread and the movement would happen inside of the loaf like how did how do you even build that down to grow?
2:23:01
[UNKNOWN]: And then cut it off so that it moves when you photograph it's astonishing.
2:23:04
[UNKNOWN]: That's really cool.
2:23:07
[UNKNOWN]: It's weird.
2:23:08
[UNKNOWN]: No, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no
2:23:27
[UNKNOWN]: gold finger, Monty Python on the Holy Grail, brain donors, the Pink Panther, Barbarella, Valerian and the City of a Thousand Plads, what I wish I'd thought of.
2:23:39
[UNKNOWN]: Delicatessen, do the right thing, and as number one, enter the void.
2:23:45
[UNKNOWN]: In my picks were Resident Evil Retribution, I do stand by that.
2:23:50
[UNKNOWN]: The naked gun, the original.
2:23:52
[UNKNOWN]: Monty Python on the Holy Grail, the pink panther, heavy metal, 1991 animated movie.
2:23:58
[UNKNOWN]: After Yang, deep red, seven, touch of evil and the wonderful ice cream suit.
2:24:06
[UNKNOWN]: Now, we're gonna talk about our runners up, but again, this is a bit of a narrower field, so I don't have as many runners up as I often do.
2:24:13
[UNKNOWN]: I suspect there's gonna be probably some overlap here.
2:24:16
[UNKNOWN]: What are your runners up?
2:24:19
[UNKNOWN]: We didn't mention solabass once.
2:24:20
[UNKNOWN]: Yeah, so it's weird, right?
2:24:22
[UNKNOWN]: It was psycho and vertigo.
2:24:23
[UNKNOWN]: I think are kind of a tie, but you I think you know those for me vertigo is definitely more visually in spite.
2:24:28
[UNKNOWN]: Psycho is a great credit sequence, but Burnout Herman is doing most of the heavy offense.
2:24:33
[UNKNOWN]: I'm gonna say it's most of the music, but that's part of this title sequence No, absolutely is.
2:24:37
[UNKNOWN]: I just think I just think the vertigo is a much better integrated visuals and sound Yeah, but just for me.
2:24:42
[UNKNOWN]: It's not what I favorites.
2:24:43
[UNKNOWN]: Oh, yeah, it's really
2:24:45
[UNKNOWN]: I like the title sequence for Ridley Scott's Alien Ridley Scott's Alien Ridley Scott's Alien Ridley Scott's Alien Ridley Scott's Alien Ridley Scott's Alien Ridley Scott's Alien Ridley Scott's Alien Ridley Scott's Alien Ridley Scott's Alien Ridley Scott's Alien Ridley Scott's Alien Ridley Scott's Alien Ridley Scott's Alien Ridley Scott's Alien Ridley Scott's Alien Ridley Scott's Alien Ridley Scott's Alien Ridley Scott's Alien Ridley Scott's Alien Ridley Scott's Alien Ridley Scott's Alien Ridley Scott's Alien Ridley Scott's Alien Ridley Scott's Alien
2:25:09
[UNKNOWN]: Oh, oh.
2:25:11
[UNKNOWN]: Do you remember where the title comes up?
2:25:13
[UNKNOWN]: Yeah, let's leave that.
2:25:14
[UNKNOWN]: I want to describe it.
2:25:15
[UNKNOWN]: Just look it up.
2:25:16
[UNKNOWN]: Another animated sequence better off dead.
2:25:18
[UNKNOWN]: Same with Christmas vacation.
2:25:19
[UNKNOWN]: Jackie Brown has that great evening sequence where she's going through LAX and they're playing across 110th Street.
2:25:25
[UNKNOWN]: I mean, it's a great homage to the graduate, but it's great.
2:25:28
[UNKNOWN]: Yeah.
2:25:29
[UNKNOWN]: And Napoleon Dynamite, not a movie I love, but the credits are written in ketchup across snacks.
2:25:34
[UNKNOWN]: Oh, yeah.
2:25:35
[UNKNOWN]: They're put about that.
2:25:35
[UNKNOWN]: Put about that.
2:25:38
[UNKNOWN]: Um, run low the run.
2:25:39
[UNKNOWN]: They're like, oh, fuck.
2:25:41
[UNKNOWN]: They kick the soccer ball and like the movie just fucking Oh, fuck.
2:25:44
[UNKNOWN]: That should that would have been on my top 10.
2:25:46
[UNKNOWN]: I can't believe you.
2:25:47
[UNKNOWN]: My fucking got that.
2:25:48
[UNKNOWN]: Run low the run.
2:25:49
[UNKNOWN]: That would have been on my top 10.
2:25:50
[UNKNOWN]: I fucking love that movie.
2:25:50
[UNKNOWN]: And that credit.
2:25:51
[UNKNOWN]: The naked gun is on mine.
2:25:53
[UNKNOWN]: I like the opening singing lips from their hockey horror picture show.
2:25:56
[UNKNOWN]: Oh, yeah.
2:25:56
[UNKNOWN]: Superman.
2:25:58
[UNKNOWN]: As that great John Williams score and the credits are soaring through the cosmos, that's really fun for you to have a really impressed me the way it's impressing people The credits are soaring like it's cool And another two for one, one movie I like the other movie I actually actively dislike but they both have really fun opening sequences
2:26:16
[UNKNOWN]: Deadpool and Deadpool and Wolverine.
2:26:18
[UNKNOWN]: Yeah the first one has it's Angel of the Morning one of the like the the wimpiest pop songs ever in and the credits are not the people in the movie it's like abstract versions of the credits like starring some asshole yeah starring CGI characters
2:26:39
[UNKNOWN]: It's all over the world.
2:26:40
[UNKNOWN]: And it's clever.
2:26:40
[UNKNOWN]: I actually forgot about that.
2:26:41
[UNKNOWN]: That's a good one.
2:26:42
[UNKNOWN]: And it's going slow motion through the sequence of like extreme violence of Deadpool murdering people and Deadpool and Wolverine had a sequence which I gave me so much hope for the movie.
2:26:52
[UNKNOWN]: It's very so strong because it starts so strong.
2:26:56
[UNKNOWN]: Because it's it's going to incorporate Wolverine a character that was like killed rather poetically And it would be called Logan a movie that I very much like and the joke is that he's literally Desecrating the grave of Wolverines digging up the bones and then some bad guys appear and start attacking him So he uses the bones in a the rootest pot most disrespectful way as weapons.
2:27:17
[UNKNOWN]: Yeah, kill these guys.
2:27:18
[UNKNOWN]: It's so far
2:27:20
[UNKNOWN]: It's so great.
2:27:21
[UNKNOWN]: This is really twisted and they're playing it's bye-bye-bye.
2:27:23
[UNKNOWN]: Yeah, it's just like completely inappropriate songs.
2:27:25
[UNKNOWN]: Yeah, yeah, yeah.
2:27:25
[UNKNOWN]: It's like, that's really great.
2:27:27
[UNKNOWN]: And then it settles into this really kind of generic, black and black.
2:27:29
[UNKNOWN]: It makes you think it's going to be truly an archic and really fuck with the MCU.
2:27:36
[UNKNOWN]: Now the Deadpool is part of it and then it immediately settles into this.
2:27:40
[UNKNOWN]: I can't wait to be part of the MCU.
2:27:42
[UNKNOWN]: I love the Marvel Cinematic Universe.
2:27:44
[UNKNOWN]: I love the Avengers.
2:27:45
[UNKNOWN]: I'm going to Disney.
2:27:46
[UNKNOWN]: It's like, oh, no.
2:27:47
[UNKNOWN]: You were doing so well, you should not be saluting Captain America.
2:27:50
[UNKNOWN]: You should be kicking me in the balls any time I see that I think something like that.
2:27:54
[UNKNOWN]: I think of Anthony Hopkins and sounds of the lamps and Jody Foster It's like well, maybe you could see your way to filling out this form and he's like, no, you're doing too far You were courteous The courtesy About megs like I'm headed segue into this net discretion
2:28:13
[UNKNOWN]: Yeah, that was Deadpool and Wolverine.
2:28:15
[UNKNOWN]: I love that sequence, but the rest of the movie is just I didn't think about those and those are both really great.
2:28:20
[UNKNOWN]: Okay, so I had psycho and vertigo as well had panic room already mentioned that Tim Burton's Batman has a great one and it's like just the camera going through the symbol.
2:28:31
[UNKNOWN]: What's weird is that you don't know what it's going through.
2:28:34
[UNKNOWN]: Yeah, the camera's moving out very quickly down these like really dark
2:28:38
[UNKNOWN]: Like creepy corridors and you don't know why and it's of course standing off in the score is phenomenal And then the finally at the end of the credits like the camera pulls out and you realize that we were in the grooves of the bat symbol and the reason it's not on my top ten list is What What what is that mean?
2:29:00
[UNKNOWN]: What were you doing?
2:29:00
[UNKNOWN]: It's meat?
2:29:02
[UNKNOWN]: I also have on my list, the men in black one, or following a bug and then you can say, oh my god, that's a fun one too.
2:29:10
[UNKNOWN]: Let's say, dude, right thing is I'm here.
2:29:13
[UNKNOWN]: True Beverly Hills, I already mentioned why, but it's a really wonderful animated sequence by an absolute creep.
2:29:19
[UNKNOWN]: Fight Club.
2:29:20
[UNKNOWN]: Top Gun!
2:29:21
[UNKNOWN]: you know so chill about the original top gun and we've both set it that opening sequence with the backlit planes and the people working on them and the great musical score.
2:29:31
[UNKNOWN]: It's a wonderful sense of place.
2:29:34
[UNKNOWN]: It is absolutely intoxicating and it pulls you in in a very propagandistic way, but it is very effective.
2:29:39
[UNKNOWN]: Okay, let's see.
2:29:41
[UNKNOWN]: You ever see the court gesture with Danny Kay?
2:29:44
[UNKNOWN]: Oh, and I said it was like a kid.
2:29:45
[UNKNOWN]: I said it on TV.
2:29:46
[UNKNOWN]: Yeah, I was like, I'm glad I re-watched the opening credit.
2:29:48
[UNKNOWN]: It's a cute movie.
2:29:49
[UNKNOWN]: It's this little farsicle, like medieval, kind of Robin Hoodie kind of thing.
2:29:53
[UNKNOWN]: Let's start with some of the, the Rubin on the stupid as the pickle with the poison or whatever.
2:29:57
[UNKNOWN]: Yeah, yeah, there's a, there's a, there's a famous bit towards the end of the movie where there's two cops and one of them has the poisonous.
2:30:05
[UNKNOWN]: The cellus for the power.
2:30:06
[UNKNOWN]: Yeah, remember the cellus from the palace has the brew that is true.
2:30:09
[UNKNOWN]: The pellet with the poison is in the vessel with the pestle.
2:30:11
[UNKNOWN]: But then halfway through,
2:30:12
[UNKNOWN]: They change it and now it's in the flag and with the dragon and we can't keep it all straight and that's very funny But the opening credit sequence is Danny Kay wearing a gesture outfit looking like a like a real fool and He's singing a song as it gradually becomes about the movie
2:30:31
[UNKNOWN]: And he thinks about how well research to the movie is and then there's a repeated bit because Basil Rathbone plays the bad guy Basil Rathbone's credit keeps like coming at him and he keeps like pushing it away And like the credits like start coming down on him and he starts like lying down and thinking it's very creative.
2:30:47
[UNKNOWN]: It's very very cute
2:30:48
[UNKNOWN]: That reminds me, it's one I forgot to put on my list, but the opening credit sequence for Aqua Teen Hunger Force, Cole and movie film for theaters.
2:30:57
[UNKNOWN]: Oh, I haven't seen that since it came out.
2:30:59
[UNKNOWN]: Because it has the let's all go to the lobby, old bumper, the old a concession bumper.
2:31:05
[UNKNOWN]: Yeah, with the snacks dancing down there.
2:31:07
[UNKNOWN]: Let's all go to the lobby and have our soul in the tree, but then they cut to a version of it where lobby snacks are now voiced by Mastodon, and there are
2:31:17
[UNKNOWN]: And they're playing, and they're saying like things here don't, don't, don't, don't, don't, don't, don't, don't, don't pull your dick out in the theater, and then they say, if you break the rules, we'll cut you alone only a knife, and that is where our good friends, Alonso D'Arale and Dave White, got the name for their podcast.
2:31:36
[UNKNOWN]: That's where they got it from from opportunity hunger for.
2:31:38
[UNKNOWN]: I did not know that and that's hilarious How could I possibly love those men more?
2:31:43
[UNKNOWN]: I just found it Completely forgotten Howard Hawks movie.
2:31:48
[UNKNOWN]: I'm very very fine.
2:31:48
[UNKNOWN]: It's called monkey business from 1952
2:31:51
[UNKNOWN]: Okay.
2:31:51
[UNKNOWN]: So I'm carry grand and ginger rogers and they're like a married couple.
2:31:54
[UNKNOWN]: They've been married for a long time and Merlin Monroe is in this as a small role, and this as well.
2:31:58
[UNKNOWN]: And they accidentally invent like a youth serum It doesn't make you younger, but it makes you like act the way you did when you were young and they both made total asses of themselves And it's really cute, but the opening credits is like a shot of their front door and it's just a credits over the front door And then at some point in the credits carry grant like walks out the door and then Howard Hawke's yells not yet carry and he's like
2:32:20
[UNKNOWN]: And it happens twice, and then the keeps going afterwards, like it's all in one take, and it's very, very cute.
2:32:28
[UNKNOWN]: Paprika has a great opening sequence.
2:32:32
[UNKNOWN]: I just know all the dream scenes.
2:32:33
[UNKNOWN]: I don't remember the opening.
2:32:34
[UNKNOWN]: Yeah, Paprika's an animated film from Satoshi Khan is the last film he ever completed, and it is very, very much an inspiration for inception.
2:32:41
[UNKNOWN]: It's also about a machine that lets you enter people's dreams, and there's a great opening sequence, where this psychologist is using it
2:32:50
[UNKNOWN]: and in the dream she has like an alternate version of herself.
2:32:53
[UNKNOWN]: She leaves and as she's driving home for self-incredible fucking score.
2:32:58
[UNKNOWN]: But we see her dream self bouncing around the world around her like goes through like the different advertising and the images and people shirts and started people try to flirt with her and we see like images of the dream girl like in the window
2:33:18
[UNKNOWN]: It's very clever.
2:33:18
[UNKNOWN]: It's very energetic and it speaks to the way that like everything around us is representation is or either representative of or trying to affect us of conscious and it's very, very cool.
2:33:28
[UNKNOWN]: I like a lot.
2:33:30
[UNKNOWN]: Let's see.
2:33:30
[UNKNOWN]: I also had brain donors as a runner up.
2:33:32
[UNKNOWN]: John Carpenter's Halloween simplicity itself.
2:33:34
[UNKNOWN]: Great score.
2:33:36
[UNKNOWN]: uncomfortably slow pushing on to a jack lantern.
2:33:39
[UNKNOWN]: Yes, that's it.
2:33:41
[UNKNOWN]: I saw that in a dark living room the very first time as a kid I'd turn the lights on.
2:33:47
[UNKNOWN]: Oh, no, this is gonna be a scary move, and I think speaking of John Carpenter All those is also the original film the thing where it's the letters of the thing are like Kind of tearing through the film itself and all it was is there's like a big piece of black
2:34:01
[UNKNOWN]: paper or whatever it is and they carve the letters through it and then on the other side there's a black garbage bag and they just set that on fire.
2:34:09
[UNKNOWN]: Genius!
2:34:10
[UNKNOWN]: It looks so fucking good and because you mentioned them and I'd forgotten them both, run the little run and rock your hard picture show.
2:34:15
[UNKNOWN]: Okay.
2:34:16
[UNKNOWN]: Um, so anyway, that is the iron list.
2:34:18
[UNKNOWN]: Thank you for the list thing.
2:34:18
[UNKNOWN]: Thank you for joining us.
2:34:19
[UNKNOWN]: Huge shout out to all of our patrons at patreon.com slash critically claimed network.
2:34:23
[UNKNOWN]: Sorry, this one is a little later than usual.
2:34:26
[UNKNOWN]: We try to do one every month.
2:34:27
[UNKNOWN]: We'll do another one in the month of July.
2:34:29
[UNKNOWN]: So stick around.
2:34:30
[UNKNOWN]: We'll post another poll very soon.
2:34:32
[UNKNOWN]: If you want to contribute to that poll, and you're not already a member of our Patreon, head on over to patreon.com slash critically acclaimed network.
2:34:40
[UNKNOWN]: If you sign up for free, you get a weekly newsletter, but for $1 a month or more,
2:34:45
[UNKNOWN]: you get at-free episodes, bonus episodes, and you get to vote on future polls, and sometimes make suggestions for future polls.
2:34:52
[UNKNOWN]: So stick around.
2:34:53
[UNKNOWN]: We'll have that poll up soon.
2:34:55
[UNKNOWN]: They're usually up for about two or three days, and then of course we get to work.
2:34:58
[UNKNOWN]: Yeah.
2:35:00
[UNKNOWN]: So stick around and check out all that.
2:35:02
[UNKNOWN]: We love hearing from people after all of our iron lists, people tend to tell us what we messed up, what we got wrong, movies we forgot that are totally awesome.
2:35:11
[UNKNOWN]: Sometimes movies
2:35:14
[UNKNOWN]: Our email address is letters at criticallyclamed.net.
2:35:17
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2:35:20
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2:35:28
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2:35:36
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2:35:37
[UNKNOWN]: We're on social media at Atlanta, Bionney on that wedding civil.
2:35:40
[UNKNOWN]: Don't forget to check out SnackFam the podcast hosted by Whitney's wife and son Where they test out novelty snacks the kind you see the store that are only in there for like a couple of weeks Specifically the limited edition stuff like it has to say that on the box for it to be available That is not on our network.
2:35:56
[UNKNOWN]: They are their own thing.
2:35:57
[UNKNOWN]: You can listen to the first couple of episodes on our network But go over to subscribe to them.
2:36:01
[UNKNOWN]: It should be a link in this podcast and of course
2:36:07
[UNKNOWN]: Thank you, Raj.
2:36:08
[UNKNOWN]: That's the list.
2:36:09
[UNKNOWN]: That's the list.