Latest / The Director's Chair Network / Untouchables - Canada Border Scene
Transcript
- 0:00 well what's the matter can't you talk 0:01 with a gun in your mouth you're not to 0:03 prove your methods 0:06 yeah well you're not from Chicago hello 0:09 and welcome back and this episode is 0:13 really uh another unique one in the 0:15 sense that I'm talking with somebody 0:17 that I've known for a while and I 0:19 haven't formally podcasted with and 0:21 we're also talking about a movie we've 0:23 talked about already and a movie I'm 0:24 sure we're going to talk about a lot 0:25 more based on the feedback I've been 0:28 getting from potential guests so I'd 0:29 like to welcome my friend Dan to the 0:31 show dan welcome thank you very much 0:33 Craig this is this is an honor and and 0:35 just a lot of fun to be discussing this 0:38 this particular great piece of film uh 0:41 making with you yeah so uh as you know 0:44 on the second episode we talked uh the 0:46 church scene from The Untouchables we 0:48 are back in the Untouchables and we're 0:50 going to be talking about an epic epic 0:53 scene uh which we'll get 0:55 to and Dan I'm glad we were able to 0:58 finally sit here and chat because I know 1:00 we've been sort of online friends for a 1:02 while and we never had the opportunity 1:04 to podcast together and this show has 1:06 made that possible so uh definitely I'm 1:10 really excited we were able to make that 1:11 happen so Dan before we get too into 1:14 things do you want to sort of just give 1:17 paint a little picture of your DAPA 1:20 history 1:21 that's it's a it's it's really the 1:23 untouchables is a really interesting 1:25 part of that because 1:28 prior to 1:30 87 I had 1:33 definitely 1:34 seen some Depalma films but mostly they 1:39 were just one and done i had seen Carrie 1:44 once i had seen Dress to Kill once i had 1:48 se I and I guess maybe Scarface was kind 1:53 of 1:54 in heavy rotation in cable so that was 1:57 the one that I had probably seen the 2:00 most but in in a lot of ways and I don't 2:02 want to get in a whole side tangent here 2:04 like kind of consider 2:07 Scarface an outlier in in Dealma uh to 2:11 some extent there are definitely some 2:13 diplomatisms in there but that was the 2:16 one I probably had seen the most but I 2:19 didn't really get dressed to kill you 2:21 know I was major into you know the the 2:24 the 70s and ' 80s slashers at the time 2:28 and I saw of course the you know the 2:31 poster for Dress to Kill and I was 2:33 looking for it and I was 2:35 like you know it didn't quite scratch my 2:37 itch for you know a true slasher but of 2:41 course I've grown to love it over the 2:42 years but um Carrie was it definitely 2:47 cre creeped me out as a I probably saw 2:49 it pretty young and to be honest with 2:51 you Craig it was probably the 2:54 innate femininity of it that kind of was 2:59 alien to me that was that made it seem a 3:02 little I you know not that's scary kind 3:05 of scary you know and things like that 3:07 that yeah I not to not to slow you down 3:10 because you're saying some great stuff 3:11 here but I got to tell you when I 3:14 started this podcast I hadn't seen or 3:17 watched Carrie in a really really long 3:19 time and I wasn't really interested in 3:22 watching it probably for similar reasons 3:24 i just remember not you know not feeling 3:27 entirely comfortable with the movie and 3:30 it's since become one of my favorite 3:32 films and I've watched it a bunch of 3:34 times in the last couple months just 3:36 because we did an episode episode three 3:38 on it yeah but yeah one thing I will say 3:42 about Dress to Kill is you know one 3:45 thing that that The Palm is always good 3:47 at is like putting things on its sort of 3:50 uh you know turning it on its head you 3:52 know and I think like filmmakers like 3:54 Tarantino sort of have this thing where 3:56 like he made his slasher film and Death 3:58 Proof and like you watch it and you're 4:00 like well it's not a it's not a slasher 4:02 film per se but he used that template 4:06 and Deama's very much the same way and 4:08 and I think I believe I said it on the 4:10 carry episode like DeAma to me seemed 4:14 like and this is no slight against Deama 4:16 or uh or Hitchcock but it always seemed 4:19 to me like the Palama was like Hitchcock 4:21 if Hitchcock was able to do everything 4:23 he wanted to do exactly exactly i mean 4:26 yeah i I don't think it's fair to the 4:30 the people that say "Oh De Palma is just 4:34 a ri you know a a Hitchcock biter his 4:37 whole career." No because he he does 4:41 play in the same sandbox but he but he 4:44 does things he goes a little bit farther 4:46 in certain ways and a little weirder in 4:49 certain ways you know and and uh 4:51 everything so yeah and I mean I love I 4:53 love Hitchcock but I can say uh with 4:56 extreme confidence that Hitchcock could 4:59 not have made Carito's way right right 5:01 absolutely and that's another thing that 5:04 really draws me to DeAnma as a filmmaker 5:07 and it's one of the things I'm really 5:09 trying to present with this podcast is 5:12 Deama the dude is able to 5:15 do multiple genres and do them very well 5:18 which you know certain filmmakers 5:21 Spielberg for example because that's a 5:22 lot of that's a filmmaker a lot of 5:24 people will reference and I love 5:25 Spielberg as well but what was 5:27 Spielberg's big attempt at comedy 1941 5:31 and we all know how that went right 5:35 whereas Dama you know he he made a 5:37 handful of legitimate you know funny you 5:40 know successful from a filmm standpoint 5:43 comedies right and then you know again 5:46 it's just the the diversity of Deama's 5:50 filmography and the other thing and it 5:52 it might have just been coincidence or 5:55 just wonderful happen stance but Deama 5:58 never got pigeonholed like you make 6:01 Scarface and then all of a sudden you're 6:03 the Scarface guy and all you're doing is 6:05 making gangster films or Carrie you know 6:08 like how many Stephen King adaptations 6:11 can you do right and that's really the 6:14 remarkable thing about it so you kind of 6:17 said that Untouchables really was you 6:20 know the thing that got your attention 6:21 with the PAMA and I believe you're a 6:25 couple years older than me so you were 6:27 in the workforce when that came out 6:28 right absolutely um I'll be 55 this 6:31 summer so in June of 6:35 87 I was finishing my uh junior year of 6:41 high school yes and I 6:43 was from 1985 to 1989 i was a 6:48 projectionist 6:50 um usher at an AMC movie theater in 6:54 Virginia so this was right in the middle 6:57 of my years at the movie theater i got 7:01 to say that's probably the best four 7:03 years that you could have worked at a 7:05 movie theater 7:08 you know I'm glad to hear you say that 7:09 because I always felt that way you know 7:12 and it's it's a in those films that well 7:15 the particularly the films that were 7:18 went through our theater from those 7:20 years if I sat down with a piece of 7:23 paper I could pretty much within you 7:27 know over 75% accuracy just recite all 7:31 of the films that were released and 7:34 especially like any of the ones that I 7:35 actually built the prints It's like once 7:37 you do that and have a hands-on part 7:40 you'll never forget those those movies 7:43 and and Untouchables was right in the 7:46 center of that and I can tell you from 7:48 my experience a big crowd-pleaser i mean 7:54 multiple theaters in the We had a 7:57 multiplex and that was showing in two 8:01 theaters lot of sellouts stayed for like 8:04 most of the summer 8:06 you know things that you don't really 8:08 see in the theaters these days you know 8:10 no and it's also really unique in the 8:13 sense that I would say it's 8:16 probably not until Mission Impossible 8:20 did De Palama really do something that 8:22 was as crowd-pleasing and I would say 8:25 Untouchables is even more so because 8:29 with Mission Impossible you were 8:30 adapting a you know sort of rebooting or 8:33 reintroducing a TV show concept and for 8:37 as much as that sort of series has 8:39 turned into what it's turned into that 8:41 first movie is a tight little spy film 8:44 oh yeah yeah with some set pieces 8:46 whereas I think 8:48 here everything about the Untouchables 8:50 is epic right the cinematography the 8:54 score the performances amazing yes yeah 8:57 so I I could totally see that playing 8:59 well with audiences so was your first 9:01 time seeing this movie like building the 9:03 if if I remember correctly Dan knowing 9:05 some people that have worked in theaters 9:07 you would put the print together and you 9:08 would wa would you watch it the night 9:09 before yes but it would there was it was 9:12 myself and probably three other 9:15 uh projectionists who were trained to 9:18 build print so I don't think that I 9:20 built that particular one but I showed 9:22 up every Thursday night for the uh for 9:24 the crew watch for sure 9:27 and you know we'd sneak a few beverages 9:29 into because it was just us you know 9:32 after hours and I knew nothing about 9:34 this film going into it i didn't even 9:36 know it was a I mean if you told me the 9:39 name Brian Dealma I would have 9:40 recognized it but I did not associate oh 9:43 a new DeAlma film coming out you know it 9:46 was just we're going to watch 9:46 Untouchables all right you know I know 9:49 who Kevin Cosner is you know it was pre 9:51 pre-dances with Wolves but post 9:53 Silverado and you know um and everything 9:56 so yeah you had to be pretty tuned in to 9:59 know Cosner he was by no means uh I 10:03 guess was No Way Out was No Way Out 10:04 already out by then maybe 10:07 i'm I'm not sure because I remember when 10:10 I when when I was looking up this movie 10:13 when we first talked about it I know 10:16 that the Palama had to get advice from 10:18 other filmmakers that had worked with 10:20 Cosner before and they were like "Yeah 10:22 you know this guy's got a rocket on his 10:24 back you know you should get on you know 10:26 before he gets too far into the 10:27 stratosphere right?" 10:29 And you think back of the especially of 10:32 those years of the well he's in a 10:34 resurgence now the first wave of Cosner 10:37 success when he you know the whole thing 10:40 with him showing up in the Madonna movie 10:42 what a what a nerd you know oh yeah 10:44 doesn't he say need or something yeah 10:47 neato or something and uh how perfect 10:50 for Elliot Ness you 10:52 know a straight a straight arrow boy 10:55 scout you know yeah so I do know that 10:59 there's a a really really cool uh story 11:02 around working at your theater there but 11:04 I do want to get into the scene before 11:06 we we get into that that story i would 11:08 like really want to hear but we're going 11:10 to be talking about the sort of the the 11:12 the Canada sequence for lack of a better 11:14 word mhm as we know this movie is more 11:18 fiction than truth and this entire 11:20 sequence is fiction but it's damn good 11:23 film making and uh effective film making 11:25 and epic film making and I would say I 11:29 didn't count the amount of guns on 11:31 screen and Scarface has a lot of guns in 11:33 it but I think in terms of scope this 11:36 might be the grandest action scene Dama 11:38 ever did it's amazing it's it's great 11:41 and and just I have to comment like one 11:44 of the 11:44 things thank god that Palma always 11:49 has putting a good show up on the screen 11:52 in his in his mind like you know his one 11:54 of his first that was in the the 11:56 documentary his documentary where he 11:58 talked about well the way in the book 12:01 Carrie she just clutches her Yep chest 12:03 and falls that's exciting yes yeah uhhuh 12:08 yeah yeah so he knows yeah especially 12:09 with all the religious overtones in 12:11 Carrie it's like how can you not go for 12:14 that imagery exactly so to set up the 12:17 scene a little bit Ness and his team get 12:20 wind of a deal that's going to be going 12:22 down capone's team's going to be 12:24 purchasing alcohol on the Canada side 12:27 and transporting it into the United 12:29 States so it's a cooperative effort 12:32 between the Canadian Mounties and Ness 12:35 and his team where they're going to bust 12:37 them uh I guess as soon as they get on 12:39 the American side right right and the 12:41 and the can the Canadians are not going 12:43 to act until they're you know signal to 12:47 and everything yeah yeah so there is one 12:50 pre sort of action moment I wanted to 12:53 talk about and I think it's a great 12:55 Elliot Nest character moment and it's 12:58 when the Mounty says um what knowledge 13:01 or information is half the battle that 13:02 old G.I joe saying and uh Ness says 13:05 something to the effect of "Well forget 13:08 half the battle what about the whole 13:09 battle?" Right and I think that's a 13:13 really really good character moment 13:15 because it really sort of defines like 13:17 with Ness it's all about that end result 13:21 exactly yeah and the Connory character 13:24 you know helping him grapple with 13:28 you know what does he say you know how 13:30 far are you willing willing to go for 13:32 this you know end result you know does 13:35 the means just you know justify the ends 13:39 yeah yeah does the ends justify the 13:41 means i have that reversed but but Yes 13:44 yeah yeah so uh for whatever reason the 13:48 Canadians jumped the gun uh and uh they 13:52 I think they're sort of played a little 13:53 bit for laughs 13:55 oh the the bounties definitely came off 13:57 as the like sort of keystone cops of 14:00 this of this movie but then we get a a 14:03 whole sequence where Capone's team 14:06 realizes there's an ambush in place they 14:09 position their cars on the bridge to 14:11 create a barrier and then Ness and his 14:14 team are very focused on making sure 14:16 that nobody escapes garcia gets 14:19 dispatched garcia is one of the coolest 14:20 characters in this whole movie i can't 14:22 wait to do a real a scene where he's 14:24 really featured but it's really not his 14:27 sequence cuz he's tasked with taking out 14:29 a a car and he gets shot and this is 14:32 where we get to see the Oscar Wallace 14:34 character played by Charles Martin Smith 14:36 as sort of his hero moment which is so 14:39 cool cuz he's this nerdy nerdy 14:41 accountant first of all I I've always 14:45 huge American Graffiti fan always love 14:49 Charles Martin Mury Starman i mean I I 14:52 love that Depalma cast him and I love 14:54 that he got this big moment 14:58 oh and Buddy Holly story too yeah yeah 15:00 yeah so uh it's great to see that um 15:03 sort of non uh you know action guy have 15:06 his action moment where he sees one of 15:08 his comrades shot and then once he knows 15:13 that he's okay he reacts and he get sort 15:15 of gets caught up in the moment and 15:16 there's some great gunplay and then even 15:18 some physical action where he uses the 15:21 butt of the gun to take somebody out 15:23 one other thing I noticed about this and 15:26 one thing you can say about sort of 15:27 technology today and we're both old 15:29 enough to remember when you watched 15:31 movies on 27in TVs on VCRs but one thing 15:35 I did notice uh with this 4K 15:37 presentation of the movie is everybody's 15:40 riding their horses even Connory and 15:43 those little details matter and I have 15:46 no idea you know at what at what point 15:48 Deama got involved in saying 15:51 "Okay here's how much of the horse 15:53 you're going to ride Sean and then the 15:55 stunt guy will take over." But it's 15:57 clear that the four of them are riding 15:59 together and I I think the way they 16:02 approached the bridge um the composition 16:05 of that shot is great but the other 16:07 thing I really like and I've talked 16:09 about this and I'll repeat myself a lot 16:10 on this show is the geography of dama 16:14 action sequences oh yes you're never at 16:16 a loss for where things are occurring 16:19 and it shows how important just giving a 16:23 in planning is as opposed to trying 16:25 to figure something out in the editing 16:27 room exactly you I mean even with that 16:31 wide expanse Montana standing in for 16:34 Canada border by the way yeah which is 16:36 beautiful beautiful but you still in 16:38 your mind okay the shack where they were 16:40 waiting is right down there you know you 16:42 you can you can you can still remember 16:44 where it is in terms of where they're at 16:47 you know in the in this big setting and 16:49 everything like that yeah and and that's 16:51 the great thing about DAMA action scenes 16:53 is you're never lost and apparently 16:57 that's harder to do than than we know 17:00 because not many people do it you know i 17:02 mean a lot of times you'll just get 17:04 these close cuts and quick action and 17:06 you have no idea what the geography is 17:10 is there any particular moment in this 17:12 sort of bridge scene that you wanted to 17:13 to highlight well just to go back to and 17:16 I remember this because I when it was 17:19 playing and I didn't have any other 17:23 pressing things i would it was one of 17:25 the many films I would just stand in the 17:26 back of the of the theater to watch the 17:29 audience reactions during I mean it was 17:31 big cheers big cheers it's kind of 17:34 ironic because this is a big I mean 17:38 there's some there's some deaths and 17:39 some shooting going on but it was a it 17:41 was a big crowd-pleasing part you know 17:43 and one of the biggest 17:45 was after his hero moment Charles Martin 17:48 Murphy when he ducks down and takes 17:51 himself a swig of whiskey that was 17:53 always a big a big crowd-pleaser for 17:55 sure yeah no and and that gets back to 17:57 the sense of humor that that Deama has 17:59 right and of course that's a moment that 18:01 was written by David Mamemoth uh 18:03 actually I don't know i have no idea it 18:04 could have been an improv right right it 18:06 wouldn't put it I I wouldn't be 18:08 surprised if Mamemoth had scripted that 18:10 based on you know what I know about him 18:11 as a writer but I think the other thing 18:13 that really helps this scene is the um 18:16 Maronei score oh amazing yes i mean this 18:20 is one of those scenes and I know if you 18:22 go on on YouTube you can find like epic 18:25 movie scenes without the score and it 18:27 really shows you how important every 18:30 element is you know the visuals are 18:31 important but at the same time the sound 18:33 design and the score are equally as 18:35 important and this is a very Hollywood 18:37 score it might be the Palama's most 18:39 Hollywood score it's great and you know 18:42 they're on horseback it would not sound 18:45 out of place on an epic western or or 18:48 something like that you know yeah so I 18:51 don't know if we talked about this 18:52 offline or not but part of this sequence 18:55 we have the bridge sequence and then did 18:57 do you want to pivot and talk about the 19:00 the shacks portion of this scene well 19:03 that's what I a little bit because of 19:06 the audience reaction and that was one 19:07 of the things I was going to talk about 19:09 is that um 19:12 so some of the some of some of the 19:15 tactics that were employed um by uh by 19:20 Jimmy by by the the the hardened Chicago 19:23 cop 19:25 um even though it's gristly in a way 19:28 that was it was the laughs were huge for 19:31 that one they were not they were not 19:32 shocked by that the audiences at all 19:34 they thought it was great yeah well well 19:37 I think it's funny too because Ness is 19:39 forced to kill somebody pretty much that 19:42 uh he doesn't speak English uh no and I 19:46 don't know whether or not that's part of 19:47 the confusion or if that guy was just he 19:51 was guns blazing until he dropped am I 19:53 correct that that ended was that 19:55 supposed to be one of Capone's either 19:58 brothers or close relatives that 20:00 character oh you know I I believe you're 20:02 right yeah he might have been yeah uhhuh 20:04 right right yeah so we have a dead body 20:07 right and and it's dead well yeah and 20:10 this is like sort of akin to like you 20:12 know like what's that rule like when you 20:13 show a gun you know by the third time 20:16 you the gun's got to be used i think the 20:19 great thing about this sequence is 20:20 they're inter they're interrogating 20:22 Capone's bookkeeper right to get 20:24 information and he's not going to give 20:25 it up because he knows what kind of 20:28 person Capone is and as Jimmy is Yeah as 20:32 Juny's doing what he does I think as 20:35 viewers we jump ahead and realize what's 20:38 about to happen that he's going to use 20:40 his dead body as a prop to show this 20:42 bookkeeper that they mean business and 20:45 he's going to kill somebody in cold 20:46 blood that's already dead that's right 20:48 because the bookkeeper can't turn around 20:50 and see see what's going on be you know 20:53 what the previous thing was yeah yeah he 20:55 just hears a discussion and then he 20:57 hears a gunshot and then of course he 20:58 gives it all up 21:00 just a a a remarkable sequence in a 21:03 movie that's full of remarkable 21:05 sequences it's funny I have at least one 21:08 more recording scheduled around the 21:10 Untouchables and we're not at a loss for 21:14 scenes to talk about i know you had a 21:15 couple of scenes you suggested but I 21:18 wouldn't be surprised Dan if this ends 21:20 up being the movie that I covered the 21:24 most amount of scenes from we'll see 21:26 we'll see so you were working at the 21:29 theater in ' 87 and you said um offline 21:32 that the theater was in proximity to uh 21:35 an arena yeah so my theater was called 21:38 the AMC Coliseum 4 which was in Hampton 21:42 Virginia u in the 21:44 Tidewater um Newport News Virginia Beach 21:47 Norfolk area it's all sort of one 21:49 megalopouloolis uh connected by bridges 21:52 and waterways and and plenty of military 21:55 bases etc and the coliseum is a pretty 21:58 famous venue i I know I have grateful 22:02 Yeah i have quite a few dead bootlegs 22:04 exactly exactly and speaking that was a 22:07 sweet span of years for the dead also 22:11 that I mean not to get into it but that 22:13 spring 89 22:15 um warlocks 89 into 90 I mean right up 22:19 till until Brent died i mean right man 22:22 they were they were cooking there's some 22:23 great great Yep i was those and the and 22:27 the Washington DC RFK ones as well oh 22:30 wow is that the one that's on um uh that 22:34 big DVD set they put out i think so yeah 22:37 like recently i have been listening to 22:39 it re recently so Oh my goodness that's 22:41 offline i'm going to have to talk to you 22:43 about the dead because I got on the bus 22:45 way too late absolutely i I will be glad 22:49 to so So you're near Hampton Coliseum so 22:52 you had several encounters with 22:55 Absolutely fans that were coming through 22:56 town to and on their off day they would 22:58 watch a movie exactly so my theater was 23:01 actually adjacent connected to the 23:04 Sheridan where if they were staying 23:07 overnight almost all of the artists 23:09 would stay there and not surprisingly 23:12 they're bored on tour and if they have 23:14 an opportunity to catch a a film many of 23:18 them did so and when we talking we're 23:21 talking about the u the 23:24 untouchables the one of the days that it 23:28 was a matinea obviously because they had 23:30 a show uh but the band the Hooters um 23:33 were there and when I say they were 23:36 watching the film Craig they were the 23:39 only ones left just watching the credits 23:41 after everyone else had fall filed out 23:43 and they were um they it had been out a 23:46 couple of weeks and they hadn't had a 23:48 chance to see it yet and they were just 23:50 over the moon as I found out later 23:52 because they're a Philly band i live 23:53 near Philly now yeah 23:55 um they are very astute in film and all 24:01 sorts all sorts of music and and the 24:03 arts and they were big to Palma fans cuz 24:05 they're all because he shares their 24:08 Philadelphia roots and you know they 24:10 were they even talked that that day we 24:12 sat in after the film and chatted for 24:15 probably 15 minutes and and they were 24:17 talking on and on about Blowout which I 24:19 don't know if I had seen Blowout at that 24:21 time yeah uh but they were big fans of 24:24 that and they they just loved this they 24:26 thought the score was over the was 24:28 incredible and interesting because their 24:31 name comes from what is it the melodica 24:34 or whatever they called it a hooter of 24:37 but which I think Moricone kind of uses 24:40 that in in some of the parts of the 24:42 score you know oh wow yeah um but they 24:46 were great um 24:48 uh got us some they were on tour with 24:50 Brian Adams at the time got us some 24:52 tickets for for the show and that was I 24:54 always associate the Untouchables with 24:57 with that with them and and talking to 25:00 them about that no that that's a such a 25:03 that's such a cool me memory to have 25:05 associated with that movie i think the 25:07 only time I ever watched a movie with a 25:09 famous person was 25:11 um Crocodile Dundy 2 me and my brother 25:14 were the only ones in the theater with 25:17 Jean Shallot um I don't know if you if 25:19 you remember Jean Shout or not um and 25:22 I'm gonna have to ask my brother when 25:24 we're done recording because he 25:26 ackned uh and God I I I I wish I 25:30 remembered my brother's got a much 25:31 better memory than me but yeah did he 25:33 did he wrinkle his gigantic mustache at 25:35 you 25:36 but your story is much better um I can't 25:39 imagine how cool it is seeing it was um 25:41 it was just the two main singer 25:44 songwriters the um Eric Bazilian and Rob 25:47 Heman and this it's like we're I'm 25:50 jealous you got such a cool job it's 25:52 like um come on 25:54 guys thank you but um but this like if I 25:58 could just hang out and watch movies all 26:00 day I would love that is what they said 26:02 but yeah well yeah especially I mean if 26:05 you think about it you know I mean V you 26:07 know V VHS was big back then but um it 26:11 was still costly and I'd imagine you 26:13 know bringing you know you could only 26:14 bring a certain amount of movies on a 26:15 bus with you whereas nowadays you have 26:18 access to anything you want to watch so 26:21 6 months for the release and Yeah yeah 26:23 yeah super super cool discussion here is 26:27 there anything you want to sort of talk 26:28 about this sequence overall before we 26:31 wrap things up i pretty much the main 26:33 thing um Craig that I would remember is 26:35 what a crowdleasing sequence this was 26:40 and it's kind of interesting because it 26:43 it feels like a triumphant ending but 26:45 then the film takes pretty dark turns 26:48 right after that you know and everything 26:50 and I will say this 26:52 because we me and the all of the crew 26:55 loved loved that that movie and because 26:59 it was just so the dialogue was so great 27:02 as happens whenever you're in a 27:04 workplace 27:06 you start using the lines in the 27:08 workplace back and forth uh to each 27:10 other so of and of course we had a Jimmy 27:13 on on the crew you know yeah and and it 27:17 was his break time take a break Jimmy 27:21 get out of town yeah so I I do hope that 27:24 this is not not the last time that we 27:26 podcast together absolutely um I hope we 27:29 can come on and talk about more DAPA um 27:31 in the future and I know that you're not 27:34 currently podcasting but you did have a 27:35 podcast do you want to tell people a 27:37 little bit about that it's on indefinite 27:39 hiatus if myself and and hopefully my 27:42 partner free up some schedule to come 27:45 back it's called Artifact we're here in 27:47 Delaware it's primarily about music but 27:52 we go bleed over 27:54 into music centric films and um I had 27:58 just funny enough last week reposted a 28:02 uh an episode we did about the film uh 28:05 Over the Edge from 1979 28:08 uh where we had interviewed uh the 28:10 screenwriter Charlie Hos um who had 28:13 worked um with Joe Joe Dante and and and 28:17 um with uh Tim Hunter a couple of times 28:20 so if you could Craig post the I'll I'll 28:22 provide the link to that and please 28:24 check it out and we're hoping to come 28:25 back with new content in the future yes 28:28 yeah i mean that's awesome like I said 28:30 I'll include all relevant links but I 28:32 mean you talked to some pretty heavy 28:34 hitters we try we tried i mean I might I 28:38 can't take the credit my my uh my 28:40 partner um Matt has been in the music 28:42 business as a venue owner and a musician 28:45 for many years from Virginia also and 28:48 and he had a lot of contacts and and we 28:50 were we were really really lucky it was 28:52 a great time doing this we're just so 28:54 busy yeah no that that's the one thing 28:57 about life man it it gets in the way and 28:59 uh you know we all sort of just you know 29:01 we all podcast for different reasons but 29:03 at the end of the day it's all about 29:04 having fun uh but you know sadly we have 29:07 to take care of business too dan this 29:10 was such a fun discussion i um and again 29:12 you have an open invitation to come back 29:14 and talk to PMA anytime you want i would 29:17 love to it's been a lot of fun for me as 29:19 well Craig thank you for the time all 29:21 right excellent we'll talk soon take 29:23 care 29:25 hi 29:27 you're great you were great thanks for 29:29 having us that was really generous we 29:32 Thanks for coming we thought it was neat 29:34 neat really neat yeah no one's ever 29:36 described it quite that way hi okay a 29:39 fun ride