Latest / Have You Seen?! The Movie Podcast / HairSpray: The Fight To Belong

Transcript

HairSpray: The Fight To Belong · Have You Seen?! The Movie Podcast

• 0:00
  Dylan: Hi everybody, Dylan here.
• 0:02
  Dylan: Before we jump into today's episode, I want to take a minute to introduce something special we're doing for the month of November on the podcast.
• 0:09
  Dylan: This month, we're celebrating family, but not just the family you're born into.
• 0:13
  Dylan: We're talking about family you choose, the friendship that becomes family, and people who love and accept you for exactly who you are.
• 0:21
  Dylan: Because family isn't always about blood, sometimes it's about the people who show up for you, stand beside you, and make you feel like you belong.
• 0:28
  Dylan: And that's what connects all four of our movies this month.
• 0:31
  Dylan: And what better way to kick things off than hairspray?
• 0:34
  Dylan: At its heart, it's a story about acceptance, standing out for what's right, and embracing people for who they are.
• 0:39
  Dylan: And really, isn't that what family should be about?
• 0:42
  Dylan: So whether your family is one you're born into, the one you found along the way, or a little bit of both, this month is for you.
• 0:49
  Dylan: Welcome to Family Month on Have You Seen the Movie Podcast.
• 0:52
  Dylan: Now let's get into hairspray.
• 0:55
  Dylan: Hey Joe, why don't you come on over so we can sit down and record the podcast?
• 1:00
  Dylan: Aw man, quit your dancing.
• 1:03
  Joe: But I can't stop the beat.
• 1:25
  Dylan: Welcome to Have You Seen the Movie Podcast, where every movie is a premiere.
• 1:30
  Joe: This week we're taking a trip back to Baltimore with the original hairspray, the cult classic that inspired the Broadway musical and the hit 2007 remake, and then the other remake that was on TV.
• 1:44
  Joe: And I'm sure there's another reboot.
• 1:47
  Dylan: If you're enjoying the show, make sure to follow us on your favorite podcast app and leave us a five-star rating.
• 1:52
  Dylan: It really helps the show grow.
• 1:54
  Joe: And we want to hear from you.
• 1:55
  Joe: Text us your name and a movie suggestion using the link in the description.
• 1:59
  Dylan: This week's movie, Hairspray, is rated PG for thematic material, some suggestive humor and mild language.
• 2:05
  Dylan: If that's not suitable for little ears, we hope you tune in next week.
• 2:09
  Joe: So before we jump into the movie, let's talk about how we watched it.
• 2:13
  Dylan: On the TV.
• 2:14
  Dylan: Yes.
• 2:16
  Joe: We set up a projector and put it on the silver screen.
• 2:21
  Joe: No, it was the closest thing to it, though.
• 2:23
  Joe: We're watching the 4K restored via criterion collection.
• 2:29
  Joe: They kept in the grain.
• 2:31
  Joe: They didn't digitally take it out or anything like that.
• 2:34
  Dylan: Digitally enhanced.
• 2:35
  Joe: Yeah.
• 2:36
  Joe: You can actually still see those little screen pops and stuff.
• 2:39
  Joe: Yeah.
• 2:40
  Joe: Which is kind of cool.
• 2:41
  Joe: It gives it more of a retrofill anyway.
• 2:43
  Joe: Yeah, that's fun.
• 2:45
  Joe: Yeah.
• 2:46
  Joe: So the audio was a 5.1 DTS HD master audio.
• 2:52
  Dylan: I noticed at the end of it, it was like, you know, where you can find the music from it.
• 2:59
  Dylan: Yeah.
• 2:59
  Dylan: It was like cassette tapes and compact discs.
• 3:03
  Dylan: Exactly.
• 3:04
  Joe: Yeah.
• 3:04
  Joe: Yeah.
• 3:05
  Joe: Comp discs back then was still like cutting edge.
• 3:10
  Joe: Yeah.
• 3:11
  Dylan: Alright.
• 3:11
  Dylan: So when did this movie come out?
• 3:14
  Joe: 1988.
• 3:15
  Dylan: Really?
• 3:16
  Dylan: Yeah.
• 3:16
  Dylan: That's a lot later than I thought it was, honestly.
• 3:19
  Joe: Yeah.
• 3:19
  Joe: Who would you think?
• 3:21
  Dylan: I would say I don't know.
• 3:24
  Dylan: Like late 70s.
• 3:26
  Joe: Yeah.
• 3:26
  Joe: Huh.
• 3:27
  Joe: Yeah.
• 3:27
  Dylan: That's kind of, I guess, what I would think it of.
• 3:31
  Joe: Yeah.
• 3:31
  Joe: Did you feel because it's set in the 60s?
• 3:34
  Joe: Right.
• 3:35
  Joe: Did you feel like it was modern in any way?
• 3:38
  Dylan: Or no?
• 3:39
  Joe: No.
• 3:39
  Joe: Okay.
• 3:39
  Dylan: No, I mean they did they did a great job.
• 3:42
  Joe: Yeah.
• 3:44
  Dylan: I was admiring the wood paneling walls in the Turnblads house.
• 3:49
  Dylan: Oh, yes.
• 3:50
  Dylan: Yes.
• 3:51
  Joe: That is, yeah, it's very in.
• 3:54
  Dylan: Right.
• 3:56
  Dylan: So directed by John Walters.
• 4:00
  Joe: Waters.
• 4:01
  Dylan: Watters.
• 4:01
  Dylan: Oh, excuse me.
• 4:03
  Joe: Yes.
• 4:05
  Joe: He had previously done two movies before this.
• 4:08
  Dylan: Okay.
• 4:09
  Joe: And then this was, you know, debatably the debatably the most successful movie that he had to come out.
• 4:20
  Dylan: It's because he had Divine in it.
• 4:22
  Joe: Exactly.
• 4:24
  Joe: Made it Divine.
• 4:26
  Dylan: So yeah.
• 4:28
  Dylan: It started off as a movie and then inspired the Broadway musical.
• 4:35
  Dylan: And then also inspired the later movie.
• 4:39
  Joe: Yeah, 2007 was the most recent theatrical release.
• 4:44
  Dylan: Yeah.
• 4:46
  Joe: That had some cool actors in it as well.
• 4:50
  Dylan: Yeah, big name actors.
• 4:51
  Joe: Yeah.
• 4:52
  Joe: Just off the top of my head.
• 4:54
  Joe: I know Amanda Bynes, John Travolta, Christopher Walkin, and Zach Afron.
• 5:04
  Joe: Yeah.
• 5:06
  Joe: So the the girl in that movie, oh Nikki Blonsky, she was kind of the same way as you know, this was her first movie, you know.
• 5:17
  Joe: So that like it was, you know, and then there's Michelle Pfeiffer, Queen Latifa.
• 5:24
  Joe: Yeah, just the number of people that yeah in this newer version.
• 5:30
  Dylan: If you haven't seen it in a while, here's the quick setup.
• 5:32
  Dylan: Teenager Tracy Turnblad dreams of dancing on Baltimore's most popular television dance show.
• 5:38
  Dylan: As her popularity grows, she uses her newfound platform to challenge segregation and advocate for inclusion.
• 5:45
  Dylan: All about navigating high school, family life, and the pressures of sudden fame.
• 5:52
  Dylan: Yeah, something I was really surprised about with this movie is how much the kind of musical music aspect of it really comes second.
• 6:05
  Joe: Yeah.
• 6:06
  Dylan: I was really expecting like singing and right.
• 6:11
  Joe: Yeah.
• 6:12
  Dylan: West Side story.
• 6:13
  Dylan: Right.
• 6:14
  Dylan: Right.
• 6:16
  Joe: Let's go fight.
• 6:17
  Joe: Boom, chicka boom, chicka boom.
• 6:22
  Joe: Snap.
• 6:22
  Dylan: Intense snapping ensues.
• 6:24
  Dylan: Yeah.
• 6:25
  Joe: It's like in the captions.
• 6:26
  Joe: Intense snapping.
• 6:31
  Dylan: So what was your first time watching Hairspray like?
• 6:36
  Joe: It was, I mean, kind of the same as watching it recently.
• 6:40
  Joe: Like it was enjoyable for me.
• 6:42
  Joe: Like, because you know, I had heard about it, and John Waters is, you know, I I really got into like at a certain point into film and directors, and so I watched Kevin Smith and Quentin Tarantino and Robert Rodriguez, those guys.
• 6:57
  Joe: Yeah.
• 6:58
  Joe: Kind of got me to watch all the older, you know, movies and stuff.
• 7:02
  Joe: And John Waters was always on the list.
• 7:06
  Joe: So I think it was kind of like for me, it was kind of like when you get into a band and you tell you ask people like, hey, what's like the you know, what's a good tape to or what's a good CD, you know, to pick up from this artist if I'm just getting into them.
• 7:23
  Joe: Like, oh, you should try this one, you know.
• 7:25
  Joe: So hairspray was always on the list of what to watch.
• 7:30
  Joe: Yeah.
• 7:32
  Joe: So when I finally seen it, I was like, okay, because I think I seen Cry Baby first.
• 7:42
  Joe: And see, I think it was another movie that came out after that that I seen it kind of led me to to seeing hairspray.
• 7:51
  Dylan: Yeah.
• 7:52
  Dylan: And you know the old saying, all roads lead to hairspray.
• 7:56
  Joe: Right.
• 7:59
  Dylan: So have you seen the the remake of it?
• 8:03
  Joe: The 2007?
• 8:04
  Joe: Mm-hmm.
• 8:04
  Joe: Yeah.
• 8:05
  Dylan: So how would you like compare the two?
• 8:08
  Joe: The 2007 is based off the Broadway hit, you know, and I think the Broadway came out in 2002 or something.
• 8:16
  Joe: So it had like a long time to catch on and you know, take the original story and kind of give it a twist, or kind of clean it up in some ways.
• 8:27
  Joe: Yeah.
• 8:28
  Joe: You know, it's just a cult classic in that it didn't take off when it first came out.
• 8:33
  Joe: Yeah.
• 8:34
  Joe: It was one of those that when you know VHS came out, like it started to pick up.
• 8:38
  Joe: And then that's kind of where the in, you know, inception of or conception of you know doing the Broadway hit.
• 8:45
  Dylan: Yeah.
• 8:46
  Joe: And so they kind of made a different, not a different storyline, the essentials are there, but it's just, you know, cleaned up.
• 8:55
  Dylan: Yeah, for sure.
• 8:56
  Dylan: With comparing like the original one to the remake, would you say that like John Waters style like really influenced it in a certain way?
• 9:07
  Joe: Yeah, like, you know, his directing style, and yeah, because I mean, I was trying to find the budget, but I couldn't find it, but I know it was a lower budget than most movies.
• 9:18
  Joe: Yeah.
• 9:19
  Joe: And so just shooting from the hip in certain time at certain times, and you know, just kind of shooting from the hip is basically you set up you set up the scene and you film it a couple of times and get out of there, you know?
• 9:34
  Joe: Yeah.
• 9:34
  Joe: So it was like it was kind of like that still.
• 9:36
  Joe: And that was his two previous movies were way more like that, where you know, like when he said when he started messing around with trying to even do film, he thought everything was in linear form and he didn't know about editing.
• 9:50
  Joe: So everything was just, you know, you shot that scene and then scene two and then three.
• 9:56
  Joe: So he had a lot of you know, just kind of from the ground up learning, and you know, so this is at this point, he's he's gotten to the point where he can actually, you know, play around with things and and be experimental, and you know, he has a lot under his belt by then.
• 10:17
  Dylan: So yeah, right.
• 10:18
  Dylan: All right, Joe.
• 10:19
  Dylan: So let's talk about characters.
• 10:22
  Dylan: So we have Tracy Turnblad.
• 10:25
  Dylan: Yeah.
• 10:27
  Dylan: Played by Ricky Lake.
• 10:29
  Joe: Ricky Lake.
• 10:30
  Joe: She didn't know she was, it was kind of like where oh, where Carrie Fisher was saying, Oh, I thought I was gonna make an indie film.
• 10:39
  Joe: Ricky Lake didn't know she was gonna this movie was gonna make her a star at all.
• 10:44
  Joe: Yeah, she just thought she had talked to her mom, and Ricky Lake was in college, talked to her mom about acting, and said, you know, I really want to do this.
• 10:53
  Joe: And so her mom gave her like a deadline of like you only got this long, you need to focus on school.
• 10:58
  Dylan: So if you're not a star by this time, yeah, yeah, exactly.
• 11:04
  Joe: And that seems to be a lot of parents, you know.
• 11:07
  Joe: They think that it takes it's overnight, but it's not right, it takes years.
• 11:11
  Joe: But for her, it was she basically found out about the audition from an agent, drove down from college to where they were filming, got a ticket, uh speeding ticket in the in the process, got there, did the audition, and so John Water said that she delivered the lines the way he had them in his head, and that was what got her the park.
• 11:36
  Joe: Yeah, yeah, it didn't matter how much experience she had, but the way she you know delivered the lines, her personality, like it's just she just glowed, yeah.
• 11:50
  Dylan: So and then we also have Edna Turnblad played by Divine.
• 11:56
  Joe: Yep.
• 11:57
  Joe: He also plays Arvin Hodgepile, the owner of the station, yeah, the racist owner of the station.
• 12:06
  Dylan: Yeah, when when it was, you know, Divine starts off as you know Edna Turnblad.
• 12:13
  Dylan: Yeah, and so then through the movie when the station owner is first like you know, in the movie then, yeah, I turned to you and I was like, oh, that's like that's divine as a guy.
• 12:29
  Dylan: Yeah, yeah, exactly.
• 12:32
  Joe: Yeah.
• 12:34
  Joe: Pretty iconic.
• 12:35
  Joe: Did two previous movies with John Waters, they hadn't seen each other for like eight years, and you know, the he was trying to find a way to get him in the movie, and so wrote kind of wrote that part for him, and yeah, you know, yeah.
• 12:50
  Joe: One of the I want to mention it because I love this fact, and I don't want to miss saying it, is that in The Little Mermaid, the character of Ursul is inspired by Divine.
• 13:05
  Dylan: That's awesome, yeah.
• 13:06
  Joe: And you can even tell with the voice, you hear her talk, you're like, oh hey, you know, make up everything.
• 13:13
  Joe: So yeah, that's awesome.
• 13:15
  Joe: Yeah.
• 13:17
  Dylan: And the the Broadway and subsequent remake of the movie, then are they is Edna Turnblad like always played by a male role then?
• 13:31
  Joe: Yeah.
• 13:31
  Dylan: That's great that that started.
• 13:33
  Joe: Yeah, basically, basically in tribute to Divine, that role has always been Cast male.
• 13:40
  Joe: Yeah.
• 13:41
  Dylan: Because in in the remake of it, the 2007, then it's John Travolta.
• 13:48
  Dylan: There it is.
• 13:49
  Dylan: John Travolta.
• 13:52
  Joe: It's one of those days here at the Have You Seen podcast.
• 13:57
  Joe: So Wilbur Turnblad is played by Jerry Stiller.
• 14:02
  Joe: Jerry Stiller is a famous comedian, he's been in all kinds of stuff.
• 14:07
  Joe: So even him being in this movie was like a huge thing.
• 14:11
  Joe: Funny.
• 14:13
  Dylan: Yeah, he definitely was kind of the comic relief.
• 14:17
  Dylan: When he was first in the movie, I was like, man, is this dad just like a total sleaze ball?
• 14:25
  Dylan: Yeah.
• 14:27
  Dylan: And then it, you know, kept going and turned around.
• 14:30
  Dylan: But like the first time that you really have the dad in scene is when Penny is, you know, showing the turnblads that Tracy is on TV.
• 14:44
  Joe: Oh, yeah.
• 14:44
  Dylan: And they're like both just dying to get out of there.
• 14:49
  Dylan: Yeah, yeah.
• 14:50
  Joe: He's like moving his way.
• 14:51
  Joe: Oh, is that all you're gonna show me?
• 14:53
  Joe: Okay.
• 14:54
  Joe: Yeah.
• 14:55
  Joe: Like, be the part of it, you're taught her.
• 14:58
  Joe: Yeah.
• 15:00
  Joe: No, I think they were pretty supportive for that time.
• 15:05
  Dylan: Yeah.
• 15:07
  Dylan: And then you do have the sleazy dad of Franklin Van Tussel.
• 15:11
  Joe: Yep.
• 15:12
  Joe: Played by Sonny Bono.
• 15:15
  Joe: Have you ever heard of Sonny and Cher?
• 15:18
  Dylan: I have.
• 15:18
  Joe: Yeah.
• 15:19
  Joe: He's the Sonny and the Sonny and Cher.
• 15:21
  Dylan: Okay.
• 15:23
  Joe: He started off as an Air AR A and R man for Specialty Records, which was black soul label that had little Richard on it.
• 15:33
  Joe: So he was already familiar with the music and people and style and culture and all that stuff, but he got to play counter to who he actually was.
• 15:46
  Joe: The funny thing was, he was running a campaign to be mayor in Palm Springs at the time.
• 15:51
  Dylan: Oh, really?
• 15:52
  Joe: And despite the movie coming out and him being so racist, he won it was like a landslide.
• 15:58
  Joe: Oh.
• 15:59
  Joe: So I think enough people know him, and he's been on TV and in music and all that that people are like, that's not really who he is.
• 16:09
  Joe: Right.
• 16:10
  Joe: Yeah.
• 16:10
  Dylan: So what TV is not just completely real?
• 16:14
  Dylan: Yeah.
• 16:16
  Dylan: So then you also have Amber Von Tussel, played by Colleen Fitzpatrick.
• 16:22
  Joe: Yep.
• 16:23
  Joe: Yeah, they were she said they were looking for a Barbie doll gone wild.
• 16:28
  Joe: Yeah.
• 16:28
  Dylan: Well, I think she felt that.
• 16:31
  Joe: They were looking for somebody who could dance and most importantly, drive stick shift because she had to drive the car in the movie.
• 16:38
  Joe: Yeah.
• 16:39
  Joe: So they're all like, yeah, we gotta get somebody who knows how to do that.
• 16:42
  Joe: And she said her acting wasn't, you know, as strong as her dancing.
• 16:47
  Joe: So she really, you know, and you can tell, like when she's doing that, the roach dance, you know, she's she's leading it, you know.
• 16:54
  Joe: Right.
• 16:55
  Joe: So she initially didn't get the job because they said she wasn't pretty enough.
• 17:01
  Dylan: What?
• 17:02
  Joe: Yeah.
• 17:03
  Joe: I guess she came with no makeup on and all that kind of stuff.
• 17:08
  Joe: And so she went home, got her, you know, her mom helped her get her buffant up and hairdo and her makeup, and they came came back and you know, she got she got the part.
• 17:21
  Joe: So and then Pia D'Pia Zadora, who was the beatnik lady in the that little when they they jump into that little, you know, the beatnik house where the guy's painting.
• 17:34
  Joe: Yeah, she was originally considered for that role, but couldn't do it because of her scheduling and stuff.
• 17:41
  Dylan: Yeah, that's definitely two polar opposite roles.
• 17:45
  Joe: Yeah, yeah.
• 17:47
  Joe: I don't know if you've ever heard of the band The Cars, but Rick O'Kesick is I think he plays guitar in the cars, but he he's the the painter.
• 17:56
  Joe: Yeah.
• 17:58
  Dylan: The light painter.
• 18:00
  Dylan: Yeah.
• 18:02
  Dylan: So then you have Amber's mom, Velma von Tussel, played by Deborah Harry.
• 18:10
  Joe: Yeah.
• 18:11
  Joe: Do you know who she is?
• 18:13
  Dylan: She looked familiar, but could not tell you.
• 18:17
  Joe: She is the lead singer of the band, Blondie.
• 18:20
  Dylan: Oh, okay.
• 18:21
  Joe: Yeah.
• 18:21
  Joe: Which you actually, well, I don't know that you stumped me musically, but I was like, hey, who's this?
• 18:26
  Joe: And you're like, it's Blondie.
• 18:28
  Joe: Oh, yeah, yeah.
• 18:30
  Joe: I was like, he knows.
• 18:35
  Joe: Yeah.
• 18:36
  Joe: So she, yeah.
• 18:39
  Joe: She's, you know, a singer, and you know, all that, and she was venturing out into acting, and so she got to do that.
• 18:46
  Joe: Exploding hair pieces.
• 18:48
  Joe: Yeah, that was.
• 18:50
  Joe: I was like, man, in reality, that just would have gone wrong.
• 18:54
  Joe: Right.
• 18:54
  Joe: Seriously.
• 18:57
  Dylan: I liked how that scene was like very comical in like the the sticks of dynamite.
• 19:04
  Dylan: Yeah, yeah.
• 19:05
  Dylan: Duct taped to the clock.
• 19:07
  Joe: Yeah, it was so like Warner Brothers, or you know, like yeah.
• 19:13
  Dylan: So then you have Michael St.
• 19:17
  Dylan: Gerard played Link Larkin.
• 19:20
  Dylan: Yeah.
• 19:21
  Dylan: I was not a fan.
• 19:23
  Dylan: No?
• 19:24
  Dylan: I was not a fan.
• 19:25
  Dylan: Really?
• 19:27
  Dylan: They definitely we talked about it kind of in the moment, uh-huh.
• 19:30
  Dylan: But I had to laugh because they definitely gave him like the Elb Elvis vibes.
• 19:35
  Joe: Oh yeah.
• 19:36
  Joe: Uh-huh.
• 19:36
  Joe: Yeah, yeah.
• 19:38
  Joe: So like you didn't like him in comparison to Zach Efron or just yeah.
• 19:43
  Dylan: I think in comparing to Zach Efron, I mean I've seen clips of of that one.
• 19:49
  Joe: Yeah.
• 19:49
  Dylan: Um, and just I felt some of the stuff was like too campy.
• 19:58
  Joe: Yeah, I get it.
• 20:00
  Dylan: Like campy's not a bad thing, yeah.
• 20:03
  Dylan: But it was like over the top.
• 20:07
  Joe: Yeah.
• 20:08
  Dylan: Too much.
• 20:08
  Dylan: You know?
• 20:09
  Joe: Yeah, yeah.
• 20:11
  Joe: Yeah.
• 20:12
  Joe: I think they played with some of that, you know, they were playing with some of that.
• 20:16
  Joe: But yeah.
• 20:18
  Joe: Somebody, I think it was the guy who played Seaweed, said he saw a walked into an office and saw a picture of his headshot and just thought it was Elvis.
• 20:27
  Joe: Yeah.
• 20:28
  Joe: Because it was black and white.
• 20:30
  Joe: And he was like, in black and white, he looks exactly like Elvis.
• 20:33
  Joe: And funny enough, he ended up doing a TV series, The Young Elvis.
• 20:39
  Dylan: Really?
• 20:40
  Joe: He played Elvis in Great Balls of Fire, and I can't remember what the other movie was, but he played Elvis in that in two other movies.
• 20:48
  Joe: So well, there you go.
• 20:49
  Joe: Yeah.
• 20:50
  Joe: So at least he, you know, got to use that.
• 20:54
  Dylan: Right.
• 20:57
  Dylan: So then you have Corney Collins of the Courtney Collins show.
• 21:02
  Dylan: Yeah.
• 21:03
  Dylan: Played by Sean Thompson.
• 21:06
  Joe: Yeah, he was just the actor who was cast who had heard about he knew John Waters' movies, so he didn't know what he was getting into.
• 21:14
  Joe: Yeah.
• 21:15
  Joe: And the previous movies, the ratings were, you know, farther.
• 21:20
  Joe: They weren't PG.
• 21:22
  SPEAKER_03: Yeah.
• 21:22
  Joe: And so he was not expecting to play this kind of more wholesome character.
• 21:27
  Joe: Yeah.
• 21:27
  Joe: Who, you know, eventually fights for fights the good fights.
• 21:31
  Dylan: Yeah.
• 21:31
  Joe: Fights the good fights, you know.
• 21:34
  Joe: So he was like, oh, what kind of sleaze bag am I gonna play?
• 21:37
  Dylan: Yeah.
• 21:38
  Dylan: Alright, Joe.
• 21:39
  Dylan: So I feel like we've got to talk about the music.
• 21:42
  Dylan: Yeah.
• 21:42
  Dylan: It's kind of a part of this.
• 21:44
  Joe: It is.
• 21:46
  Joe: John Waters said the music is a sign of the times.
• 21:50
  Joe: The world he built was a year away from going away, and the British invasion was was to come next and do away with that whole culture.
• 21:59
  Joe: Yeah.
• 21:59
  Dylan: So it was sort of.
• 22:00
  Joe: Sort of like a tribute to his time in that time of his childhood, of that music and dancing and and all of that.
• 22:11
  Joe: He also wanted to build a non-traditional musical where the music would drive the story, kind of like you know, the West Side story idea that they got from Rogers and Hammerstein, but also kind of like the Blues brothers, where you know there were scenes where they used the music in you know scenes, and that kind of told some of the story as it was going.
• 22:36
  Joe: Right.
• 22:37
  Joe: You know, and you can you can see that in some of the songs, you know, where they they show Amber or you know, Tracy and the song is a certain thing, you know.
• 22:47
  Joe: So a substantial part of the film's budget went towards obtaining the rights to the early 60 pop hits that they used.
• 22:56
  SPEAKER_03: Really?
• 22:57
  Joe: Yeah.
• 22:58
  Joe: Yeah.
• 23:00
  Joe: So I'll I'll go through some of the songs and give some little things that's not exhaustive, but did you I think it's the first song in it.
• 23:09
  Joe: Did you recognize it?
• 23:11
  Dylan: Hairspray?
• 23:12
  Joe: No.
• 23:12
  Joe: Okay, there was hairspray.
• 23:14
  Dylan: But then is it the mashed potato or before that one?
• 23:19
  Joe: It's before that.
• 23:20
  Dylan: Ooh.
• 23:23
  Joe: Nope.
• 23:24
  Joe: No, shake your tail feather.
• 23:27
  Dylan: Okay, is that the same one from Blues Brothers?
• 23:30
  Dylan: Okay.
• 23:30
  Dylan: I I thought that it was the same one from the Blues Brothers, but I wasn't quite sure.
• 23:35
  Dylan: Yeah.
• 23:36
  Dylan: Because it was a little different.
• 23:37
  SPEAKER_03: Yeah.
• 23:38
  Dylan: But I was like, did they have two songs that was very alike?
• 23:43
  Dylan: Right, right.
• 23:44
  Dylan: Yeah.
• 23:44
  Dylan: Because that's never happened ever.
• 23:46
  Dylan: Right, ever.
• 23:48
  Joe: Yeah, so yeah, it's the same song, different arrangement.
• 23:53
  Joe: And this was the original by the five dew tones.
• 23:58
  Joe: And it name checks all the dances of the time, so that the it was kind of a good introduction for everybody to see what dances they were gonna do, and all that kind of stuff.
• 24:09
  Joe: And they didn't really have there was no official dance for this song, so they came up with it for that.
• 24:16
  Joe: And you know, Blues Brothers did a version of that, but they kind of made it so that it was more corny collins.
• 24:25
  Joe: Right.
• 24:27
  Joe: Then you have the roach, and that scene where she's dancing out of the jail and they're playing the roach.
• 24:38
  Joe: They didn't have much time to improvise it, and they just kind of shot it.
• 24:42
  Joe: They're like, Okay, do do the roach, guys, and you know, you're coming out, you know, you're coming out of jail.
• 24:47
  Joe: And they were at a real jail, so they had to like you know hurry up, and they got permission, but you know.
• 24:53
  Dylan: Oh, they didn't just break in.
• 24:54
  Joe: Yeah, they didn't just break in and jail.
• 24:55
  Dylan: That's good.
• 24:56
  Dylan: Yeah, you can break in, you just can't break out.
• 24:59
  Joe: Yeah.
• 25:02
  Joe: Let's twist again.
• 25:03
  Joe: So Chubby Checker has five songs.
• 25:06
  Joe: What'd you call me?
• 25:10
  Joe: Right back at me.
• 25:14
  Joe: So yeah, twist again, dancing party, limbo rock, pony time, and the fly.
• 25:21
  Joe: And the fly was one of the easiest to choreograph because all you do is put your hands up in front of your face.
• 25:27
  Joe: So like they use that for the kids because it was like, you know.
• 25:31
  Dylan: That's hilarious.
• 25:32
  Joe: Yeah.
• 25:33
  Joe: Then you have starts off with mashed potato.
• 25:37
  Joe: Then you have gravy, and apparently there, and there's the salt and pepper as well.
• 25:44
  Joe: Really?
• 25:44
  Joe: Yeah, it's so funny.
• 25:45
  Joe: Like, when you see that, like the way they put them together is it's obvious that there's the mashed potato, and then it's obvious that the gravy's there.
• 25:54
  Joe: Yes.
• 25:56
  Joe: Nothing takes place was the slow dance, Toussaint McCall in that scene.
• 26:02
  Joe: The one you said where he doesn't lip sync very well.
• 26:06
  Joe: I was thinking it was probably the same thing as Aretha and you know, with Blues Brothers, where you have an artist who's yeah, you know, just wants to sing it.
• 26:17
  Joe: Yeah, yeah, yeah.
• 26:18
  Joe: And probably improvises, and you know, but he was the original artist, and they had him come back and sing that.
• 26:25
  Dylan: Well, and I kind of laughed with that too, because like when he they first introduced him and he comes out and he kind of starts talking, uh-huh, you know, he sounds very, you know, distinctly a certain way.
• 26:35
  Dylan: Yeah, and then you can just tell when they switch it to like the music and the you know, the voiceover like backtrack.
• 26:47
  Joe: Backtrack.
• 26:48
  Joe: Yeah.
• 26:49
  Joe: Yeah.
• 26:51
  Joe: The ladies' choice song, You'll lose a good thing.
• 26:54
  Joe: That's a great Barbara Lynn song.
• 26:57
  Joe: Oldies, it's probably on most compilations.
• 27:03
  Joe: Most notably East Side Story.
• 27:08
  Joe: East Side Story is a compilation of oldies for like low writers and stuff.
• 27:11
  Joe: Yeah.
• 27:12
  Joe: Yeah.
• 27:13
  Joe: You don't own me by Leslie Gore.
• 27:16
  Joe: Life's Too Short.
• 27:18
  Joe: The Lafayette's show up in the movie playing Life's Too Short, and they were a local favorite band of John Waters that he thought was gonna be big, and they just never really caught on.
• 27:30
  Joe: And it's just actors who play them, but you know, he wanted to give tribute to them.
• 27:36
  Joe: I'm Blue by the IKettes, and the IKettes were a fame, a female backing group for Ike and Tina Turner, and uh John Waters got to see them live with Tina Turner, and he said he never saw anything like it.
• 27:50
  Joe: Yeah, so he wanted to include them.
• 27:53
  Joe: The theme song Hairspray was written by Rachel Sweet for the movie.
• 27:58
  Joe: In the song Hairspray, Deborah Harry has an uncredited verse in the song when when she sings when Rachel Sweet sings, hey girl, what are you doing over there?
• 28:10
  Joe: Deborah Harry sings the response, Can't You See Me?
• 28:13
  Joe: I'm spraying my hair.
• 28:17
  Joe: And then one of my favorites that I was just playing before we started, Town Without a Pity by Gene Pitney.
• 28:24
  Joe: To me, it always that song, even though it's orchestral and things, for some reason it fits into the rockabilly category for me.
• 28:32
  Joe: And I always thought it was a 50 song when it's actually a 60s song, but it just has this like eeriness to it.
• 28:40
  Joe: Yeah.
• 28:41
  Joe: Yeah.
• 28:42
  Joe: They used or he used the songs that he loved and he grew up with, and and that's what his soundtrack was gonna be.
• 28:50
  Dylan: Can't make it more authentic than that.
• 28:52
  Dylan: Yeah.
• 28:53
  Dylan: Alright.
• 28:54
  Dylan: So let's talk about how the movie was made.
• 28:57
  Dylan: They definitely did a lot with like the kind of the campy humor of it.
• 29:05
  Joe: Definitely.
• 29:06
  Joe: Yeah, there's there's a lot of over-dramas dramatization in in certain points.
• 29:13
  Joe: Yeah.
• 29:14
  Joe: So it kind of started with John John Waters was writing he started writing hairspray after attending a Corney Collins reunion that he was researching for a short essay, and it was actually called the Buddy Dean Show.
• 29:31
  Joe: Oh, really?
• 29:32
  Joe: Yeah.
• 29:32
  Joe: And so he was writing a short essay about this reunion of you know, the Buddy Dean show, and he called it the nicest kids in town.
• 29:43
  Joe: Yeah.
• 29:44
  Joe: And he, you know, he loved and obsessed over these dance crazes when he was a kid, and there was always behind the scene drama, and he said they would play up the drama so you could see like little fights in the back and like these little lover quarrels.
• 30:04
  Joe: And one example is when Link and Tracy start going steady, and she has her hand you know towards the camera and the key was wiggling her fingers.
• 30:15
  Joe: Yeah, it's like they seriously had things like that where oh, you know, so-and-so is dating so-and-so now, and they just play it up, and like you know, he said that a lot of the times they weren't even dating, you know, and it was just uh it was just to kind of keep the interest and and kind of like milk the drama, right?
• 30:36
  Joe: And so he grew up watching it, he grew up with this music, and like Dick Clark was the more popular national show, you know, all over the country, and it was kind of the same concept, but the Buddy Dean show would come on every night, and then like Saturday it'd be like five hours of yeah, yeah.
• 30:57
  Joe: So yeah, so then Buddy Dean appears outside the governor's mansion as a newsman.
• 31:06
  Joe: Okay, yeah, so they included him, and you know, it was it was kind of his love letter to Baltimore, and yeah, you know, wanted to show his his childhood and and all that during hairspray pitch meetings.
• 31:19
  Joe: He would perform novelty dances like The Roach and the Bug.
• 31:23
  Joe: Oh yeah, yeah.
• 31:25
  Joe: So at some point, one of the dancers on the show quit when you know when it was going on, and there were rumors that she died because she had roaches in her hair.
• 31:36
  Joe: Oh, and so like so that was like a kind of thing where Buddy Dean actually had to get on air and say, no, she's not dead, like there's no she didn't have roaches, like you know, yeah, yeah, because it was just it got so out of control that he had to step in.
• 31:53
  Joe: And so that's why there's references along the way about the roaches, and you know, you know, the whole there was a whole like side plot of you know amber kind of making it more about the roaches and roaches were gonna come out of like she was gonna set it up to where they would come out of her hair.
• 32:15
  Joe: Oh, yeah, yeah, they come out of Tracy's hair and all that, and so that's why she even has a dress at the end with the roaches on it, yeah.
• 32:23
  Joe: Because she was kind of like taking it back, you know, from being bullied and whatever.
• 32:29
  Joe: So that's one way to do it, yeah.
• 32:32
  Joe: So, like being that that John Waters was in touch with the people from the original show, the original dancers from the show did a lot of the choreography, if not all of the choreography for the movie.
• 32:46
  Joe: Wow.
• 32:47
  Joe: John Waters would send tapes to people, and Ricky Lake said she had a tape with John Waters dancing in black and white, and he was basically talking to her on the on the tape, going, Okay, you know, Ricky, you're gonna do this, you're gonna do that, and this is the mashed potato, and you know, this is the this dance.
• 33:05
  Joe: And she at home she would practice these dances.
• 33:10
  Dylan: All right, let's talk about favorite scenes.
• 33:13
  Dylan: So I don't know if you have any in mind, but I I think all of like the the dance competition, yeah, or like with the Corney Collins show dancing, were like just very humorous.
• 33:26
  Dylan: Yeah.
• 33:27
  Joe: Yeah.
• 33:27
  Dylan: The lady with the signs.
• 33:29
  Dylan: It's like, oh, you know, smile, applause.
• 33:32
  Dylan: Yeah, uh-huh.
• 33:33
  Dylan: Is your fake boob falling out?
• 33:35
  Dylan: Yeah, right.
• 33:36
  Dylan: Yeah, yeah.
• 33:38
  Joe: Yeah, it was hilarious to see that.
• 33:40
  Joe: Like it just, you know, and then kind of the audition scene where you know the three girls are having to dance and kind of compete.
• 33:48
  Joe: Yeah, you know, just yeah.
• 33:51
  Joe: I like the record store when they're just all dancing in there and doing their their moves, and like you know, Tracy and Link are doing kind of their fruit the forbidden moves that you wouldn't see on TV, and you know, you couldn't show on TV, I guess.
• 34:08
  Joe: But scandalous.
• 34:12
  Dylan: Yeah, scandalous, yeah, and then like the kind of the finale dance.
• 34:18
  Dylan: Yeah, dance off.
• 34:20
  Dylan: Yeah, the dance celebration.
• 34:21
  Dylan: That was good too.
• 34:22
  Joe: Yeah, yeah, yeah.
• 34:24
  Joe: Divine and Mr.
• 34:25
  Joe: Pinky cutting a rug.
• 34:27
  Joe: Right.
• 34:29
  Joe: Yeah.
• 34:30
  Dylan: Yeah, the just the dance circle.
• 34:32
  Dylan: And when she came out like wearing the roach dress.
• 34:36
  Joe: Yeah, yeah.
• 34:38
  Joe: Yeah, and you know, even all her scenes were just just great.
• 34:43
  Joe: Like she just uh, she just beamed and she just looked like she was having fun, and yeah, you know, just yeah.
• 34:51
  Dylan: Yeah, that makes a huge difference too.
• 34:53
  Joe: Yeah, all right.
• 34:54
  Dylan: Let's get into some behind-the-scenes nuggets.
• 34:57
  Joe: So there wasn't an actual Negro Day on the show on the original show, and they did this specifically so they wouldn't integrate kids, and you know that's crazy, yeah.
• 35:10
  Joe: And I guess apparently they did start doing it, and that's when it got cancelled.
• 35:15
  Joe: So there's a little bit of truth to that.
• 35:18
  Joe: Oh wow.
• 35:20
  Joe: Ricky Lake danced so much in the filming that she started to lose weight, and they would try to feed her ice cream after each take because he wanted like he was looking for a big girl, and he said when they did auditions, they got eight girls to to try out, yeah, and that was it.
• 35:41
  Joe: It was like, you know, and she was kind of the biggest.
• 35:44
  Joe: And Ricky Lake said he kept looking, looking at her because he thought maybe she had stuffing, uh, you know.
• 35:53
  Joe: Oh really?
• 35:54
  Joe: Yeah, because because she was so round.
• 35:56
  Joe: Wow.
• 35:57
  Joe: That and and he was like, okay, she's perfect then, you know, like this is what I'm looking for.
• 36:02
  Dylan: Yeah.
• 36:02
  Joe: Because he really just wanted to show, like he said that in reality they would never have a big girl, you know, on on those shows.
• 36:13
  Dylan: And that's still like that today.
• 36:15
  Joe: Yeah, that the song The Waddle was actually made for girls like that, like it was made to include them, you know, and so he wanted to show that, you know, being inclusive and and this character.
• 36:28
  Dylan: It really is okay.
• 36:29
  Joe: Yeah, yeah.
• 36:30
  Joe: You know, they they don't like other than Amber, it's not like a thing for people, you know.
• 36:37
  Joe: Like Tracy's Tracy, they love Tracy, right?
• 36:40
  Joe: Link, who's you know, you know, supposedly the hottest guy there, like asked her to go steady, and so there's no like barrier or boundary, and right he wanted to show that, like he just wanted her to have success.
• 36:55
  Dylan: It's almost like people are just people, right?
• 36:59
  Dylan: Novel concept, yeah.
• 37:02
  Joe: So he he based parts of the story on his own childhood memories of Baltimore, and he considers it almost autobiographical, with Tracy being himself, yeah, yeah.
• 37:13
  Joe: And so, because he used to hang out with you know the the rejects and the people who weren't popular, and you know, back in the time things weren't integrated, so he hung out with black people and and you know, whoever else, and his mom wasn't completely agreeable with you know with all that, but she was she was okay, you know, like because it was so controversial at the time, yeah.
• 37:41
  Joe: But he wanted to show that Ricky Lake wore a wig for the first part, but her natural hair was bleached to the point where it actually damaged her scalp.
• 37:51
  Dylan: Really?
• 37:52
  Joe: Yeah, so like the second half of when she's her hair's bleached, that's her actual hair.
• 37:58
  Joe: Really?
• 37:59
  Dylan: Yeah, and it looks fried, yeah, yeah.
• 38:02
  Joe: It does look fried, quite fried.
• 38:05
  Joe: Colleen used her natural hair the whole time, but she would have to wrap it every night to keep it like high.
• 38:12
  Dylan: Oh, really?
• 38:13
  Joe: Yeah, so she'd have to go home and saran wrap it or whatever.
• 38:16
  Joe: Wow.
• 38:16
  Joe: Yeah, to go to sleep.
• 38:18
  Joe: That's a lot of work, yeah.
• 38:19
  Joe: And it was, you know, they'd have to sit for hours when they'd come into the dressing room and get their hair done and all that.
• 38:27
  Joe: Hair did up.
• 38:28
  Dylan: I wonder how many cans of hairspray they went through.
• 38:30
  Joe: Yeah.
• 38:32
  Joe: Even though Colleen was skinny, her wardrobe had to be modified to be a little bigger because the 50s clothing was just too small.
• 38:41
  Joe: Like really, yeah.
• 38:43
  Joe: Wow.
• 38:44
  Joe: She was like, yeah, like you could see points where a lot of her dresses have an open back, and that was how they modified it to make it look open back because it wouldn't zip up completely.
• 38:57
  Dylan: That's crazy.
• 38:58
  Joe: I know, I know.
• 38:59
  Dylan: And she did not look big in the slightest.
• 39:02
  Joe: I know.
• 39:03
  Joe: It's so crazy.
• 39:04
  Joe: Oh, so the scene where Tracy is sitting at the principal's office and the mother and daughter come out, that was an improved scene.
• 39:13
  Dylan: Really?
• 39:14
  Joe: And the actress who played the daughter didn't know she was gonna get hit.
• 39:19
  Joe: So it was a genuine reaction.
• 39:25
  Dylan: Did that remind you of your childhood upbringing?
• 39:28
  Joe: A little bit.
• 39:30
  Joe: Waiting waiting out of the principal's office or getting hit.
• 39:34
  Joe: Yes.
• 39:35
  Joe: Yes.
• 39:37
  Joe: John Waters makes a cameo as Dr.
• 39:40
  Joe: Frederickson.
• 39:41
  Joe: Oh, really?
• 39:41
  Joe: Yeah, yeah, he's such a funny character, weird character.
• 39:45
  Joe: Yeah, you know, with the little like pinwheel thing or whatever.
• 39:49
  Joe: Oh my gosh.
• 39:49
  Dylan: Yeah, when they with when that whole scene like played out, I was like, what?
• 39:56
  Dylan: Are you for real right now?
• 39:59
  Dylan: That's crazy.
• 40:00
  Dylan: Yeah.
• 40:01
  Dylan: The whole yeah, the spiral and the strait jacket, and then later on, the the the poker thing, yeah, the cattle parade.
• 40:10
  Joe: Yeah, cattle parade.
• 40:11
  Dylan: I was like, what?
• 40:13
  Dylan: Yeah, I was like, what in the world?
• 40:17
  Joe: So you're gonna like this one.
• 40:19
  Joe: So apparently it was the worst summer for cicadas.
• 40:22
  Joe: Really?
• 40:23
  Joe: Yeah.
• 40:24
  Joe: They said that they were like just just all over the place, and anytime they would step, it would just be crunch crunch because it just they were all over.
• 40:35
  Joe: So that's wild.
• 40:36
  Joe: Like they had to really, you know, set up for the scene to to film outside if they were doing it because it was just so bad.
• 40:44
  Dylan: Go sweep go sweep the sidewalks to get all the cicadas off.
• 40:47
  Joe: Yeah.
• 40:48
  Joe: When Ricky, like when uh Tracy gets thrown into the paddy wagon with the handcuffs, they actually had real handcuffs on her and threw her in the paddy wagon.
• 40:59
  Joe: Oh, yeah.
• 41:00
  Joe: And so her wrists were bruised up and everything because they had to do multiple takes, but she was just landing on her handcuffs over and over.
• 41:09
  Joe: So yeah.
• 41:11
  Joe: In the scene where they're on the roller coaster, her hair was pinned to her shirt.
• 41:17
  Joe: So really move.
• 41:19
  Joe: Yeah, because they wanted to make it look like the hairspray was making it stiff, right?
• 41:23
  Joe: Right.
• 41:25
  Dylan: So extra hold hairspray.
• 41:28
  Joe: Yeah, so you could see her shoulders kind of look stiff in it, yeah.
• 41:32
  Dylan: And it's just she's trying not to rip her hair out.
• 41:35
  Dylan: That's crazy.
• 41:37
  Joe: Yeah.
• 41:38
  Joe: So John Waters wrote a sequel, a musical, and a TV series for hairspray.
• 41:43
  Dylan: Really?
• 41:44
  Joe: Yeah.
• 41:44
  Joe: So he helped out.
• 41:46
  Joe: You know, he he gave insight and direction a little direction on the 2007 stuff or the 2002 Broadway to there.
• 41:56
  Joe: But he had wrote a different musical altogether that was just completely different.
• 42:02
  Joe: And you know, uh it would have been interesting to see what a sequel would be like, yeah, you know, or a TV series.
• 42:10
  Joe: I mean, now nowadays you can do a whole Netflix thing.
• 42:15
  Joe: He won a Tony for the musical.
• 42:19
  Joe: And yeah, like you said earlier, as a tribute to Divine's performance, the production of the stage musical cast as a man as Edna.
• 42:28
  Joe: Yeah.
• 42:29
  Joe: So it's pretty cool.
• 42:31
  Dylan: Yeah, that's like great.
• 42:33
  Dylan: It's one of those things with this movie too, like kind of the the legacy of the movie just how much it kind of covers like just inclusion and how like in the 50s, 60s, like yeah, that was a changing world, and a lot of people did not want to change with it.
• 43:04
  Joe: Yeah.
• 43:05
  Dylan: It's like I couldn't even fathom like what the thought process was, yeah, thinking that you know they were different people than the others.
• 43:18
  Joe: Yeah, or even less than you know, like and you know, that's kind of where with Tracy being kind of the John Waters or John Waters being Tracy, like he saw that firsthand.
• 43:31
  Joe: And if you were any different in any way, you were put in this category.
• 43:37
  Joe: Yeah.
• 43:37
  Joe: You know, he said that the dancers who were in the show, you know, they would get they would either get beat up because they thought they were into guys or that the guys who were dancing on the show were into their girlfriends and they didn't want to mess with their girlfriends.
• 44:00
  Joe: Wow.
• 44:00
  Joe: So they would they would get in a lot of fights, those guys, the dancers.
• 44:04
  Dylan: That's wild.
• 44:05
  Joe: Yeah.
• 44:06
  Joe: And so it's just like there's a lot where he you know included in that where it's just kind of the social commentary on things, you know.
• 44:16
  Joe: Like and again with her being big, it's not an issue.
• 44:20
  Joe: And I feel like, you know, I think I think there's a certain amount of, you know, body awareness, as it were, you know.
• 44:29
  Joe: You know, I I was big all my life, you know, and I'm still, you know.
• 44:36
  Joe: And so I know what it's like to be in that position.
• 44:39
  Joe: Right.
• 44:39
  Joe: And to be in a world where nobody cares is like amazing.
• 44:44
  Joe: You know?
• 44:44
  Joe: Yeah.
• 44:45
  Joe: So but yeah, uh, you know, so the lady who played Mortarmouth Maybell's name Ruth Brown, and she actually had co-written all kinds of music and won a bunch of lawsuits to get that writing credit back.
• 45:04
  Joe: Really?
• 45:05
  Joe: Yeah.
• 45:05
  Joe: And so she was, you know, she was she was a huge, you know, artist in that respect, but she she didn't want to do the wig, she didn't want to dress up like that, and John Waters was like, but you know, black girls dress like that all the time, and she's like, No, you know, and I I don't want to do that.
• 45:24
  Joe: And and but she finally did, and she was kind of happy she did it after all.
• 45:29
  Joe: Yeah, but the one thing that was a little she was like she was kind of like this is this is a dream right now, but is when she was doing all the music and doing these things, like whenever kids were dancing, there was always a rope, like there was no, you know, yeah, wow, to separate you know, black kids from white kids and keep them, you know, so if they were in the same room and there was a you know dance going on or you know, concert, there's a rope right there.
• 46:05
  Dylan: That's crazy, yeah.
• 46:07
  Joe: And they show a little bit of that, but you know, I don't know that they emphasize it enough because it's more about trying to get them to integrate, you know.
• 46:14
  Joe: Yeah, but so I I yeah, so overall, you know, I think even yeah, even to this day, there's still some you know prejudice and things like that that I feel like with this movie it doesn't get talked about enough.
• 46:29
  Joe: Yeah.
• 46:31
  Joe: You know, I like the Broadway show, but I feel like this is more getting to the point on some of those things, you know.
• 46:39
  Dylan: For sure.
• 46:40
  Dylan: Just being able to kind of go back and help highlight some of that stuff.
• 46:45
  SPEAKER_03: Yeah.
• 46:46
  Dylan: What would you rate this movie out of ten?
• 46:50
  Dylan: So I think I think for me, yeah, I would probably I think I would probably give it a seven.
• 46:58
  Joe: Yeah.
• 46:58
  Joe: Yeah.
• 47:00
  Joe: Yeah.
• 47:02
  Joe: I'm right there.
• 47:03
  Dylan: Yeah.
• 47:04
  Joe: Yeah.
• 47:06
  Joe: Yeah, it's it's a fun movie and it's you know different than the the remake.
• 47:11
  Joe: Yeah.
• 47:11
  Joe: But I I feel like with Ricky Lake, her personality and just driving the movie with that, and Divine just kind of the cool thing about their relationship too is that you know, in the movie, uh Divine supports her, you know, yeah and you know, or Edna supports Tracy, you know, and and I she they go, they go looking for her, you know, and chase them down and stuff.
• 47:41
  Dylan: Don't run, you're in heels.
• 47:43
  Joe: Yeah, you're in heels, you're gonna fall, you're gonna fall.
• 47:46
  Joe: And and like I I feel like you know, I feel like Edna really cares about Tracy, yeah, you know, and is not like trying to get her in trouble or like you know, it's just like it's curfew time, you gotta come home and you can't be running in hills in the dark.
• 48:02
  Dylan: Thank you for listening to Have You Seen the Movie Podcast.
• 48:06
  Joe: Make sure to follow the show on your favorite podcast app.
• 48:08
  Joe: And if you're enjoying it, leave us a five-star rating.
• 48:11
  Joe: It really helps us grow.
• 48:12
  Dylan: And we want to hear from you.
• 48:13
  Dylan: Text us your name and a movie suggestion using the link in the description.
• 48:17
  Joe: You can follow all our socials in the description as well.
• 48:20
  Joe: Everything you need is right there.
• 48:21
  Dylan: We'll be back next week with another movie premiere.
• 48:50
  Joe: So, Dylan, think your hair could survive a can of ultra clutch?
• 48:55
  Dylan: Oh, absolutely.
• 48:56
  Dylan: I think I could definitely use some of that.
• 48:58
  Dylan: Yeah.
• 48:59
  Joe: And I told you uh my hair didn't.
• 49:06
  Dylan: You know what they say.
• 49:07
  Dylan: The higher the hair.
• 49:14
  Dylan: The higher the hair.
• 49:15
  Dylan: The higher the hair, the closer to God.
• 49:17
  Joe: Oh, yes.
• 49:18
  Joe: Yeah.
• 49:20
  Joe: This is a roll credit studio production.